HIP Concerto

(Chamber Concerto No. 3)

Stephen Jaffe

Duration: 17:00
Publisher: Merion Music, Inc.
Print Status: Rental

Quick Overview

The HIP Concerto was imagined played by a consort of early music instrumentalists, with all such practice implies regarding "rule of the beat," articulation, bowing, tonguing, etc. The concerto is composed to be somewhat open, interpretively: if string pizzicato do not project, or if a slur or articulation proves unworkable in the winds, players are encouraged to find a feasible alternative, respecting the composition as best as possible. The Flute part may be played on Traverso or Recorders. In the case of the latter, the choice of which instrument to be played (Alto or Tenor) is left to the player, but in general, the low octave should not be changed. The concerto may also be played on modern instruments, corresponding to baroque practices in the above.

The concerto may be played at modern or period pitch, i.e. A 440, or A 415; the choice of harpsichord tuning and intonation is left to the group. While all intervals should of course be tuned, the variable parts (flute, oboe, and strings) have intermittently been marked with an asterisk above a given note to indicate an octave or unison occurring with the natural trumpet. When the trumpet is alone, quarter tones have been marked, corresponding to the natural harmonic series.

Additional Information

Commission Commissioned by the Mallarmé Chamber Players and Aliénor for the 2014 North Carolina HIP Music Festival
Composition Date 2013
Orchestration Modern Instruments: Fl. Ob. Tpt.; Hpsch. Str.
Baroque Instruments: Alto and Tenor Recorder, Baroque Oboe, Clarino (in D and C); Baroque Violin, Baroque Viola, Baroque Cello, 6 string Baroque Violone, Harpsichord
Premiere February 2nd, 2014. Mallarm


I. Vivente (Pulsing with life force and physicality)
II. Più vivo (Phrased and rhythmically exultant)
III. Fragment (Like gentle, promising winds)
IV. Adagio (Interior; twice and thrice heart)
V. Vivo concertante

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