Scored for: percussion and piano Duration: 11 min. Premiere: 11/99 Merkin Hall, NYC Commissioned by: The Hoffmann/Goldstein Duo Published by:Jomar Press
“Clearfield’s Double Play put keyboard and percussion through a seamless, no less taut, conversation…a vibrant work.”
–Tim Smith, The Baltimore Sun, November 8, 2001
PROGRAM NOTES
Double Play was commissioned by Paul Hoffmann and Tom Goldstein for their Hoffmann/Goldstein Duo and was premiered at Merkin Hall, NY. This piece is a play on dualities, exploring various ways in which two players and two contrasting musical ideas can interact. The piano and percussion each have sections respectively where they are leading the musical momentum, later engaging in a more equal partnership with sections of unison rhythms and dialogue. A falling motive and a rising melodic line, heard in the opening measures of the piano, are transformed and combined throughout the piece, each coming to the foreground at a different time. The seed for the harmonic and melodic materials of the piece is a simple harmonized melody, which is heard only in fragments until it is stated quietly in the piano before the rhythmic coda.
LISTEN
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Double Play
Scored for: percussion and piano
Duration: 11 min.
Premiere: 11/99 Merkin Hall, NYC
Commissioned by: The Hoffmann/Goldstein Duo
Published by: Jomar Press
See preview score pages: DOUBLE PLAY FULL SCORE EXCERPT (PDF)
REVIEW
“Clearfield’s Double Play put keyboard and percussion through a seamless, no less taut, conversation…a vibrant work.”
–Tim Smith, The Baltimore Sun, November 8, 2001
PROGRAM NOTES
Double Play was commissioned by Paul Hoffmann and Tom Goldstein for their Hoffmann/Goldstein Duo and was premiered at Merkin Hall, NY. This piece is a play on dualities, exploring various ways in which two players and two contrasting musical ideas can interact. The piano and percussion each have sections respectively where they are leading the musical momentum, later engaging in a more equal partnership with sections of unison rhythms and dialogue. A falling motive and a rising melodic line, heard in the opening measures of the piano, are transformed and combined throughout the piece, each coming to the foreground at a different time. The seed for the harmonic and melodic materials of the piece is a simple harmonized melody, which is heard only in fragments until it is stated quietly in the piano before the rhythmic coda.
LISTEN
Audio clip: Adobe Flash Player (version 9 or above) is required to play this audio clip. Download the latest version here. You also need to have JavaScript enabled in your browser.
Audio clip: Adobe Flash Player (version 9 or above) is required to play this audio clip. Download the latest version here. You also need to have JavaScript enabled in your browser.