| Ode
for Oboe, Harp and Cello, was written during the summer
of 2007, in Wainscott. I have long been fascinated by the harp,
it’s sonority, it’s texture and it’s associations
which stretch back to ancient Egypt and Greece. It combines
well with the mysterious sounds of the oboe and the soul of
the cello. Each instrument announces its character individually
before entering into conversation with the others. The first
movement ends with a harp cadenza acting as a question mark
which is answered in the next movement.
The second movement is a free form fantasy. The lyrical quality
of the oboe is contrasted with the pointillism of the harp and
the richness of the cello’s lower register. The harp and
cello trade arpeggios, and the oboe and cello spin melodic fragments
before the main theme returns in a full setting. The movement
ends with the harp’s signature glissandos sweeping throughout
its range followed by a galloping ride to the finish.
String Quartet Op. 7 (World Premiere)
I. The Cliff. A horse is galloping across the pampas. Ahead,
storm clouds gather. The horse and its rider reach the cliffs
just as the thunder breaks. Below, dark waves break against
the rocks. The rider sees in his mind the last memory of his
love, the night they spent together in a small bar in Palermo,
dancing the tango. The memories of their passion mixes with
the swells of the waves, until in a moment of desperation, he
impels the horse over the cliff.
II. Descent. As they plummet, time stops as his life flashes
before his eyes. From the inchoate feelings of adolescence,
his first steps through life, to the first fateful meeting with
his beloved, which looms as the climax of his life. At that
moment the horse and rider disappear into the waves.
III. Procession. Back in the village, a holiday procession winds
through the streets. She cranes her neck for a glimpse of him,
but cannot see him. The procession passes by, leaving her standing
alone.
IV. Souvenires du Passé. Her memories of their time together,
their passion, their thirst for life, is interrupted by an intuition
of imminent danger. She mounts her stallion and gallops frantically
to warn him, arriving at the cliff: but it is too late! Sinking
to her knees, she prays one last prayer, fragments of memories
swirling around her, realizing that he is already past all care.
Philippe
Bigar studied composition with Behjzad Ranjbaran and
Samuel Zyman at The Juilliard School in New York. His works
have been heard at the Aspen Music Festival in Colorado, as
well as in New York at Carnegie’s Weill Recital Hall.
Miranda, a three movement piece for woodwinds, was premiered
by the Ariel Winds quintet in April of 2002 in New York, and
subsequently performed in Washington, D.C. at the Museum for
Contemporary Art. Cinq, a piece for a brass quintet,was premiered
at Juilliard in March of 2003. 2005 saw the première
of Reverie, for string quintet, as well as and solo works for
cello, flute, and guitar at Juilliard. A piece for a string
ensemble, Printemps Perdu, was premiered at Barge Music in 2004
by The Knights. The 2nd movement of Printemps Perdu saw its
premiere last December at Carnegie's Weill Recital Hall, also
by The Knights. This work was choreographed last fall in Chicago
by Thang Duo.
The
Knights- The Knights is a flexible ensemble that appears
most frequently as a string orchestra plus piano but has also
collaborated with artists such as flautist Paula Robison.
Members of the group are mostly recent graduates of Juilliard,
Curtis, Manhattan and Mannes who are individually accomplished
solo and chamber players. They have performed with many orchestras
both in the US and abroad an have been heard at many of the
most prestigious music festivals including Marlboro, Tanglewood,
Salzburg, Taos, Ravinia and Verbier.
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