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BLUE GLAZE is a collection of five short pieces for flute and piano. The distinguishing feature of the set is the use of expressive modal melodies over static harmonies. Movement 1 is a lyrical Andante espressivo. It opens with a solo flute melody- a slowly meandering tune with gentle contours that sets the lazy, reflective mood. It is answered with a complimentary phrase in the piano, and so the piece evolves within a binary structure built on these two tunes, over a period of approximately three minutes. A more rhapsodic line, taking the flute into the third octave above a rocking, syncopated bass line, brings the end of the A section to its climax. The harmonies are simple but effective - all built around an F# minor chord with the melody outlining a phrygian scale. The pace is slow and it becomes even more languid in the following Adagio. This movement consists of a repeated phrase which passes bewteen flute and piano (doubling the line in octaves). The young flute player will need the stamina to sustain repeated high F semiquavers for eight bars in the middle section. The tempo picks up in Movement 111, indicated as Brio. Again a minimal of harmonic movement - two main chords over which two themes are played out: one comprised of brief cheeky motives reminiscent of bird calls, the other long and sustained.
Two short movements conclude the set. A dreamy pentatonic flute solo opens the Fourth. It is joined by the piano in the B section, intoning a drone-like chord scored in earthy fourths and fifths with a bell-like motive repeated above it. Returning to the A section the flute recalls the opening melody. The work concludes with a Moderato moving into Allegro con brio and back again. As in all the movements, the writing is very transparent - uncomplicated lines and harmonies requiring only basic piano skills from the accompanist and a flute player of approximately Grade four or less. If you can play a D major scale and get up to third octave G you will manage the pieces in this album without much difficulty. The barest indication of dynamics, expression and articulation are provided so the performer can experiment freely in this regard.
Johanna Selleck
Review source: Music Teacher Magazine Vol. 9 No. 5 |
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