Eleven Echoes of Autumn, 1965, for Violin, Alto Flute, Clarinet, and Piano

Brian Fennelly; George Crumb; Charles Wuorinen

doi:10.2307/896001

Eleven Echoes of Autumn, 1965, for Violin, Alto Flute, Clarinet, and Piano

Notes ◽

10.2307/896001 ◽

1973 ◽

Vol 30 (2) ◽

pp. 356

Author(s):

Brian Fennelly ◽

George Crumb ◽

Charles Wuorinen

Keyword(s):

Alto Flute ◽

Clarinet And Piano

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Space for Flute, Clarinet and Piano

The Musical Times ◽

10.2307/1002429 ◽

1993 ◽

Vol 134 (1800) ◽

pp. 1

Author(s):

Shinuh Lee

Keyword(s):

Clarinet And Piano

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Graphical Data Sets as Compositional Structure: Sonification of Colour Graphs in RGB for Clarinet and Piano

Leonardo ◽

10.1162/leon_a_01964 ◽

2020 ◽

pp. 1-14

Author(s):

Thomas Metcalf

Keyword(s):

Visual Input ◽

Data Sets ◽

Mapping Data ◽

Compositional Structure ◽

Graphical Data ◽

Clarinet And Piano ◽

The Web

This article will follow the methodology behind the composition of the author's piece, RGB (2019), for clarinet and piano; a sonification of four colour graphs generated from Pollock's Out of the Web (1949). It will demonstrate the process of ‘mapping’ data to sound whilst creating allowances for compositional intuition. In this way, the author hopes to demonstrate the usefulness and flexibility of composing with this approach, as well as its future implications and improvements, whilst acknowledging that this is a specific example of such an approach, rather than an all-encompassing taxonomy for any visual input.

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Alto flute (jazz)

10.1093/gmo/9781561592630.article.j009200 ◽

2003 ◽

Keyword(s):

Alto Flute

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Bb Clarinet and Piano Accompaniment

American String Teacher ◽

10.1177/000313136401400425 ◽

1964 ◽

Vol 14 (4) ◽

pp. 29-29

Author(s):

GEORGE E. Waln

Keyword(s):

Clarinet And Piano

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Music in the Making

Tempo ◽

10.1017/s0040298200059672 ◽

1939 ◽

pp. 9-13

Keyword(s):

Bela Bartok ◽

New Work ◽

Clarinet And Piano ◽

Clarinet Quintet

A new work by Béla Bartók for violin, clarinet and piano has been announced. During his visit to London a few weeks ago we had the opportunity of learning from Szigeti, who will take part in the first performance, some details of this work and the unusual circumstances of its origin. It was commissioned by Benny Goodman, a virtuoso clarinetist long recognised in America as a “King of Swing.” Benny Goodman's recordings of “hot” music sell by the thousand, and if he has not yet achieved the distinction accorded to Shirley Temple and Freddie Bartholomew of having a League formed in his honour, at least his “fans” are legion. Some of us, perhaps, have not yet fathomed the mysterious depths of “swing,” but that other branch of the art which swingers dub “classical” at least holds no terrors for Benny Goodman, who recently made a recording of the Mozart Clarinet Quintet—which, we hope, will also sell by the thousand.

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