Period Modern. Comp Date Pub Date First Perform.
The Reed Flute's Song
November 16, Avg Duration Share on facebook twitter tumblr. American Chamber Works for Flute. Favorite Flute Masterpieces.
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We Are As The Flute - Poem by Mewlana Jalaluddin Rumi
British Fantasies - American Dreams. American Flute Concertos. All American Favorites. Griffes, Hanson. Gypsy Wheel. Open the window in the center of your chest, and let the spirits fly in and out! Tanslation by Coleman Barks. It is written in a lyrical, rhythmic, poetic version of Persian, but the poetic style does not translate well into English with the same force and power as the original manuscript.
One of the most cited original sources for the Mathnawi is a manuscript dated CE A. Many translations of this poem have been made. Here is an early English translation by E.
Griffes POEM (for flute and orchestra) by ScoresOnDemand - Issuu
It was originally published as one long poem with about seven words on each line. This version has been re-arranged to read like a book:. Listen to the story told by the reed, of being separated.
Anyone apart from someone he loves understands what I say. Anyone pulled from a source longs to go back. At any gathering I am there, mingling in the laughing and grieving, a friend to each, but few will hear the secrets hidden within the notes. No ears for that. Body flowing out of spirit, spirit up from body: no concealing that mixing. But it's not given us to see the soul.
- Mewlana Jalaluddin Rumi?
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The reed flute is fire, not wind. Be that empty. The reed is a friend to all who want the fabric torn and drawn away. The reed is hurt and salve combining. Intimacy and longing for intimacy, one song. A disastrous surrender and a fine love, together. But, I look at this piece from several angles.
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This piece lets you master tonal flexibilty and control, while integrating solid flute techniques. The piece is constructed in a variation of the ABA sonata format. Music theorists will disagree most profoundly Get over it. The opening line has a haunting character that sets the stage for a bit of intense American Romantic Music-making, followed by a robust technical section that can have an aggitated, almost panic stricken feeling, then a return to the romance and haunting character that started the whole show.
Don't be afraid to hold back, yes hold back, the emotional tempo tampering most flutists use in the opening. Let the tone colors create the mood of the opening statement. The technical section will sound more exciting if it is not pushed to the extreme, just to play fast.