The eight works for flute and piano heard here were all commissioned anew by New Zealand-born American flutist Marya Martin. Individual listeners may have their own preferences about individual pieces, but will likely find a satisfying wholeness to the program that may well relate to its unified point of origin. None of the music involves extended technique on the flute; nor does any, except for a fairly subtle recorded track of the composer's own altered voice in Eve Beglarian's I will not be sad in this world, feature ...
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The eight works for flute and piano heard here were all commissioned anew by New Zealand-born American flutist Marya Martin. Individual listeners may have their own preferences about individual pieces, but will likely find a satisfying wholeness to the program that may well relate to its unified point of origin. None of the music involves extended technique on the flute; nor does any, except for a fairly subtle recorded track of the composer's own altered voice in Eve Beglarian's I will not be sad in this world, feature electronics. None of the music is particularly radical in conception, and none, with the possible exception of Paul Moravec's impressionistic Nancye's Song, could be called neo-anything. Within its focused parameters, the music is delightfully diverse. This is partly due to its representation of the American ethnic mosaic; the Three Bagatelles from China West by Chinese-American composer Chen Yi use Chinese melodies in intriguing ways, sometimes as structural markers rather than as a...
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