Shadows in the Mist of the Evening Sun
(clarinet and string orchestra)
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Other versions of the composition exist: a string quartet replaces the string orchestra or an alto saxophone is the solo instrument with either a string quartet or string orchestra. The versions with string quartet are entitled Shades in the Myst of the Evening Sun. The first movement opens with a trichordal statement of the row in the strings and a linear presentation of the order as the beginning of a lyric line in the clarinet. A more spirited featured line follows accompanied by the strings with a repeated-note motive which prepares the way for the four-note ostinato appearing in the next section of the piece. The second movement is characterized by quick dance-like pizzicato gestures in the strings with extended notes in the clarinet. The steady pulse of the opening string gestures return and is contrasted with homophonic syncopated verticalizations in all parts. The sounds of the clarinet are often highlighted by solo string passages. Additional rhythmic subdivisions challenge the steady pulse and the movement ends with a flourish in the clarinet. The third movement begins softly with a clear statement of the row in tetrachordal rotation. As frequently the case through all three movements, all instruments are again simply a part of the ensemble. Motives and gestures from the previous movements are reexamined and placed in new juxtapositions to one another. The composite rhythms become much more predictable and timbral/dynamic differences are exploited until the final closing sounds are heard. To view this composition as a "solo instrument" verses an "accomplimental ensemble" is a mistake. This view is historical and traditional. Much music has been written from this viewpoint. Granted, the timbre of the solo instrument and the strings is vastly different. However, this particular piece was conceived "as all sounds contributing to the entire composition", and, occasionally among instruments which produce very different timbres, solo passages were written to be heard and even emphasized by particular performers.
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