Vicious Circles, for flute and piano, (12')
International Premiere: Svetlana Nikitina (flute) and Olga Ilyina (piano)
Jurgenson Chamber Hall, Moscow, Russia, June 8, 2010.
U.S premiere: Lindsey Goodman (flute) and Robert Frankenberry (piano)
Duquesne University, Pittsburgh, PA, January 22, 2011
Published: Yoeleon
Recorded by Alberto Almarza (flute) and Walter Morales (piano)
The composition was inspired by the following text from The Book of Ecclesiastes:
“What profit hath a man of all his labour which he taketh under the sun? One generation passeth away, and another generation cometh: but the earth abideth for ever. The sun also ariseth, and the sun goeth down, and hasteth to his place where he arose. The wind goes toward the south, and turneth about unto the north; it whirleth about continually, and the wind returneth again according to his circuits … All go unto one place; all are of the dust, and all turn to dust again.”
The word “circles” imply both symbolic and compositional aspects. On a spiritual, metaphysical level the circles embody the central idea of the text: everything that starts or emanates from the source, inevitably returns to the source. In this process all beginnings are also endings, and vice versa. On a structural level the circles reflect processes of progression and regression, expansion and contraction which characterize the piece.
International Premiere: Svetlana Nikitina (flute) and Olga Ilyina (piano)
Jurgenson Chamber Hall, Moscow, Russia, June 8, 2010.
U.S premiere: Lindsey Goodman (flute) and Robert Frankenberry (piano)
Duquesne University, Pittsburgh, PA, January 22, 2011
Published: Yoeleon
Recorded by Alberto Almarza (flute) and Walter Morales (piano)
The composition was inspired by the following text from The Book of Ecclesiastes:
“What profit hath a man of all his labour which he taketh under the sun? One generation passeth away, and another generation cometh: but the earth abideth for ever. The sun also ariseth, and the sun goeth down, and hasteth to his place where he arose. The wind goes toward the south, and turneth about unto the north; it whirleth about continually, and the wind returneth again according to his circuits … All go unto one place; all are of the dust, and all turn to dust again.”
The word “circles” imply both symbolic and compositional aspects. On a spiritual, metaphysical level the circles embody the central idea of the text: everything that starts or emanates from the source, inevitably returns to the source. In this process all beginnings are also endings, and vice versa. On a structural level the circles reflect processes of progression and regression, expansion and contraction which characterize the piece.