by Emmanuel Berrido | Feb 7, 2016 | Uncategorized
Hot Potato, for flute, bass clarinet, horn, trumpet, trombone, percussion, piano, violin, viola, cello, and contrabass, offers three different perspectives on the simple idea of sharing of material between instruments in an ensemble. The first movement (also titled...
by Emmanuel Berrido | Feb 7, 2016 | Uncategorized
La Oración Del Ateo (“The atheist’s prayer”), for vocal quartet and piano, is a setting of a poem by the Spanish author and philosopher Miguel de Unamuno (1864–1936). The poem is a lament; it concerns the despair of one who understands that God does not exist, but...
by Emmanuel Berrido | Feb 7, 2016 | Uncategorized
Party Lines, for solo clarinet, casts multiple voices within the context of a single line. The title harkens back to the early days of the telephone, when multiple households were often required to share a single “party line.” Here, the “voices” may be differentiated...
by Emmanuel Berrido | Feb 7, 2016 | Uncategorized
C. japonica, for solo marimba, incorporates music and ideas I have absorbed during my travels in Japan. I am hardly the first composer to draw a connection between the sound of the marimba and the culture of Japan—the pairing borders on cliché—but I can’t help it: the...
by Emmanuel Berrido | Feb 7, 2016 | Uncategorized
Tight Ropes, for flute, violin, cello, percussion, and piano, contains two main ideas. The first is a drawn-out motive in which various instruments repeat the same notes relentlessly; the second is a short, ritornello-like outburst from the whole ensemble. The...
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