{"product_id":"stallcop-violin-sonata-no-1-aca","title":"Stallcop: Violin Sonata No. 1","description":"\u003cul\u003e \u003cli\u003e\n\u003cstrong\u003eComposer\u003c\/strong\u003e: \u003ca href=\"\/zh\/collections\/glenn-stallcop\"\u003eGlenn Stallcop (1950-)\u003c\/a\u003e\n\u003c\/li\u003e \u003cli\u003e \u003cstrong class=\"original-instrumentation-title\"\u003eInstrumentation\u003c\/strong\u003e: \u003cspan class=\"original-instrumentation\"\u003ePiano, Violin\u003c\/span\u003e \u003c\/li\u003e \u003cli\u003e\n\u003cstrong\u003eWork\u003c\/strong\u003e: Violin Sonata No. 1 (Images from \"The Far Field\") (1981)\u003c\/li\u003e \u003cli class=\"binding hidden\"\u003e\n\u003cstrong\u003eBinding\u003c\/strong\u003e: \u003c\/li\u003e \u003cli\u003e\n\u003cstrong\u003eISMN\u003c\/strong\u003e: \u003cspan class=\"book-barcode\"\u003e9790600232260\u003c\/span\u003e\n\u003c\/li\u003e \u003cli\u003e\n\u003cstrong\u003eSize\u003c\/strong\u003e: \u003cspan class=\"book-width\"\u003e9.8\u003c\/span\u003e x \u003cspan class=\"book-length\"\u003e12.8\u003c\/span\u003e inches\u003c\/li\u003e \u003cli class=\"book-pages hidden\"\u003e\n\u003cstrong\u003ePages\u003c\/strong\u003e: None\u003c\/li\u003e \u003c\/ul\u003e \u003cdiv class=\"row\"\u003e \u003c\/div\u003e \u003c!-- split --\u003e\n\u003cdiv class=\"row\"\u003e \u003cdiv class=\"one-half columns\"\u003e \u003ch4\u003eDescription\u003c\/h4\u003e \u003cdiv class=\"feature_divider\"\u003e\u003c\/div\u003e \u003cp\u003e\u003cstrong\u003eComposer's Note:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eIn the early 1980's, I wrote one concert of original chamber music per year for four years. Sonata – Images from the \"Far Field\" (Roethke) for violin and piano was written for Chamber Concert No. 1, which took place on October 14, 1981. The concert featured Nancy Livingston and Lenore Lehr, violins, while I played piano and bass. The other works on the program were \u003cem\u003eEchoes From An Urban Glade\u003c\/em\u003e (1981) for violin and double bass, and \u003cem\u003eMobiles\u003c\/em\u003e (1981) for two violins and double bass. Stylistically, the music in this concert is as close to freewheeling Minimalism as I ever got. The music is freely organized in layers, but is much more lyrical and melodic and less textural than the typical Minimalist-inspired music of the period. What interested me about Minimalism was the aligning of the organizational factors texturally to a structural grid. My interest was in doing this WITHOUT strict rhythm.\u003c\/p\u003e\n\u003cp\u003eThis work is inspired by Theodore Roethke's poem \u003cem\u003eThe Far Field\u003c\/em\u003e. Roethke is one of my favorite poets. The association has been heightened by the fact that he spent the last years of his life in Seattle at the University of Washington, which was where I grew up. A painter I knew had grown up next door to Roethke. He said as a child he thought he was a little odd, because he was always pacing around his property deep in thought. But later, he wished he had gone next door and talked to him sometime.\u003c\/p\u003e\n\u003cp\u003eJourney Dream is inspired by the following lines –\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eI dream of journeys repeatedly:\u003c\/em\u003e\n\u003cem\u003eOf flying like a bat deep into a narrowing tunnel,\u003c\/em\u003e\n\u003cem\u003eOf driving alone, without luggage, out a long peninsula,\u003c\/em\u003e\n\u003cem\u003eThe road lined with snow-laden second growth,\u003c\/em\u003e\n\u003cem\u003eA fine dry snow ticking the windshield,\u003c\/em\u003e\n\u003cem\u003eAlternate snow and sleet, no on-coming traffic,\u003c\/em\u003e\n\u003cem\u003eAnd no lights behind, in the blurred side-mirror,\u003c\/em\u003e\n\u003cem\u003eThe road changing from glazed tarface to a rubble of stone,\u003c\/em\u003e\n\u003cem\u003eEnding at last in a hopeless sand-rut,\u003c\/em\u003e\n\u003cem\u003eWhere the car stalls,\u003c\/em\u003e\n\u003cem\u003eChurning in a snowdrift\u003c\/em\u003e\n\u003cem\u003eUntil the headlights darken.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eThe second movement is inspired by the following lines –\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eFor to come upon warblers in early May\u003c\/em\u003e\n\u003cem\u003eWas to forget time and death:\u003c\/em\u003e\n\u003cem\u003eHow they filled the oriole's elm, a twittering restless cloud, all one morning,\u003c\/em\u003e\n\u003cem\u003eAnd I watched and watched till my eyes blurred from the bird shapes. . .\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eThe third movement is inspired by the following lines –\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eI learned not to fear infinity,\u003c\/em\u003e\n\u003cem\u003eThe far field, the windy cliffs of forever,\u003c\/em\u003e\n\u003cem\u003eThe dying of time in the white light of tomorrow,\u003c\/em\u003e\n\u003cem\u003eThe wheel turning away from itself,\u003c\/em\u003e\n\u003cem\u003eThe sprawl of the wave,\u003c\/em\u003e\n\u003cem\u003eThe on-coming water.\u003c\/em\u003e\u003c\/p\u003e \u003c\/div\u003e \u003c\/div\u003e","brand":"American Composers Alliance (ACA)","offers":[{"title":"Default Title","offer_id":42674938511439,"sku":"ACA-STAL-077","price":35.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0900\/1828\/files\/0a53a7ebb1511dd052fdee967c5b697b.webp?v=1780123455","url":"https:\/\/www.ficksmusic.com\/zh\/products\/stallcop-violin-sonata-no-1-aca","provider":"Ficks Music","version":"1.0","type":"link"}