20655028
Form and Postlude
20655028
20655028
20655028
Copyright Material for Preview Only - Sheet Music Plus
Mixed Ensemble (Score & Parts) - difficult
SKU: HL.49045537
For Flute, Clarinet in B-Flat, Harp, and String Quartet. Composed by Han Lash. Sheet music. Edition Schott. Classical. Score and parts. Composed 2017. 52 pages. Duration 20'. Schott Music #ED31318. Published by Schott Music (HL.49045537).
ISBN 9781495095290. UPC: 888680688394. 9.5x12.0x0.435 inches.
Form and Postlude is a piece in one continuous movement but with a distinct postlude which ends the work. I play throughout with the idea of pacing on many levels: the largest level is the idea of proportion of sections to one another, then harmonic rhythm (in the broad sense), then harmonic rhythm on a more local level, and of course then on the surface of the music there is instrumental texture and how fast the notes go by. Along with this sense of play in terms of the pacing and motion is the idea of color. I love this ensemble, and its palette of color has been part of my DNA, as it were, for many years, because Ravel's wonderful work Introduction et Allegro is such a cornerstone in the harpist's repertoire. While composing, I found myself feeling that I was entering into this colorful world that is possible with this combination of instruments, almost as if it were possible to step into a painter's palette in a real and visceral way, physically interacting with all the different colors. The title Form and Postlude nods to Ravel's Introduction et Allegro, although my piece lives in its own very distinct space apart from Ravel. -Hannah Lash.
Mixed Ensemble (Score & Parts) - difficult
SKU: HL.49045537
For Flute, Clarinet in B-Flat, Harp, and String Quartet. Composed by Han Lash. Sheet music. Edition Schott. Classical. Score and parts. Composed 2017. 52 pages. Duration 20'. Schott Music #ED31318. Published by Schott Music (HL.49045537).
ISBN 9781495095290. UPC: 888680688394. 9.5x12.0x0.435 inches.
Form and Postlude is a piece in one continuous movement but with a distinct postlude which ends the work. I play throughout with the idea of pacing on many levels: the largest level is the idea of proportion of sections to one another, then harmonic rhythm (in the broad sense), then harmonic rhythm on a more local level, and of course then on the surface of the music there is instrumental texture and how fast the notes go by. Along with this sense of play in terms of the pacing and motion is the idea of color. I love this ensemble, and its palette of color has been part of my DNA, as it were, for many years, because Ravel's wonderful work Introduction et Allegro is such a cornerstone in the harpist's repertoire. While composing, I found myself feeling that I was entering into this colorful world that is possible with this combination of instruments, almost as if it were possible to step into a painter's palette in a real and visceral way, physically interacting with all the different colors. The title Form and Postlude nods to Ravel's Introduction et Allegro, although my piece lives in its own very distinct space apart from Ravel. -Hannah Lash.
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