Stuckle 2: On a Bar Each from

Schoenberg and French Folksong,

with a Between

for flute and piano

[3:57]

I & III: Dream & Dance
Rotational shenanigans with a pitch series' X/Y dot graph produce its retrogression at 180 degrees.  Starting out with the retrogression instead leads, of course, to the original.  I have applied this trick, highlighting its intermediate shifts, to two unrelated opening bars: from Arnold Schoenberg's Klavierstuck, Opus 33a; and from the French folk song, "Ah! Vous dirai-je, Maman".   Originally paired alone for flute/guitar and titled to conflate their source names (with song in English), they are rescored here with several performance enhancements.

Schoenberg's opening pitch series, originally 3 quarter-note chords, I have linearized with the kind permission of Belmont Music Publishers, Pacific Palisades, CA 90272.

II: [Unaccompaniment]
This is the 3rd movement of my Partita Traverse for Flute Solo, after J.S. Bach (1993).  That title against Bach's own -- Partita solo pour la flute traversiere -- encapsulates my having applied traverseness, not to instrumental choice, but to the compositional process.  From my Partita's NOTES:

Hearing Bach's Sarabande, I wish occasionally for more harmonic definition.   As the wish remains frustrated, I offer in revenge this alternate, a "continuo without melody".   It is textured in fact as two melodies, and maximizes periodicity of harmony and phrasing.  The movement will be best heard as accompanying the listener's silent(!) recollection of the Sarabande itself, which it almost fits. Note: its performance tempo must be unhurried sufficiently to facilitate this.

This center movement is included honoring the dedicatee -- my colleague and friend, flautist Peter Standaart.

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