SKU: PR.416411770

UPC: 680160091508.

I was tempted to call the piece Throw Back because it consciously employs rhythmic and harmonic approaches characteristic of the earlier part of the twentieth century, much of which plays a part in forging my musical personality. Going along with the impetus, I have paid homage by subtly interpolating stylistic or actual references to such unexpected bedfellows as Scriabin, Ravel, Debussy, Piston, Roussel, and Ysaye. I hope I will be musically forgiven. In one continuous movement, there are three definite internal sections: Presto-Largo-Allegro. The first section opens with a very soft percussion cadenza. If the acoustics allow it, the player will use sponge pottery mallets (sponge-headed mallets employed to smooth the interior of a pot as it is being spin-dried). No matter how hard the percussionist strikes the drums, the dynamic cannot go above pp (pianissimo). This cadenza serves as a basis for the first movement. The elements of the cadenza are taken by the orchestra to make the first major statement, similar to the classical concerto; but rather than making a restatement, the soloists, when they come in, begin with variational ideas. The second section is given over to the soloists, and is lyrical. The third section begins with an alternation between strict rhythmic pulsation and free-sounding timbres, as if reluctant to leave the second section behind. The rhythmic aspect takes over more and more as the piece progresses toward its conclusion. Double Play was commissioned by the Saint Paul Chamber Orchestra with financial assistance from the Northwest Area Foundation. It received its premiere on January 7, 1983, in St. Paul, with the St. Paul Chamber Orchestra; Pinchas Zukerman, violinist; Marc Neikrug, piano; and the composer conducting.

SKU: HL.50605315

ISBN 9781705177556. UPC: 196288102670. 9.0x12.0 inches.

Commissioned by Fenella Humphreys with funding from The Marchus Trust First performed by Fenella Humphreys (violin), Ben Griffiths (double bass), Murray Grainger (accordion) and George Barton (percussion) at the Chiltern Arts Festival in September 2020.

SKU: PR.114413040

UPC: 680160571628. 8.5 x 11 inches.

Commissioned by the Opus 21 ensemble, this mixed sextet is a musical realization of Chinese clay figurines of the Eastern Han (25-220 A.D.). Shapes of the enraptured storyteller, the vivid acrobat, and the moving dancers are in highly exaggerated forms and postures, in large and sweeping movements — the innocent and bold images symbolize the strength, motion, and speed, as the beauty of the crude and primitive power of humanity in its conquest of the material world.
The mixed sextet The Han Figurines is a musical realization of my impression of the Chinese clay figurines of the Eastern Han (25-220 A.D.).  Have you seen the shapes of the enraptured storyteller, the vivid acrobat, and the moving dancers with long sleeves?  They are in highly exaggerated forms and postures, in large and sweeping movements — the innocent and bold images symbolize the strength, motion, and speed.  It’s the beauty of the crude and primitive power of humanity in its conquest of the material world.—Chen Yi.

SKU: SU.50032080

Published by: Seesaw Music.