I finished some arrangements that I have been working on off and on over the last decade. They were challenging pieces to arrange. Music for the piano and for solo viola are not the easiest things to just sit down and translate into the idiom of the guitar. It remains to be seen what the publisher thinks of the arrangements. They could decide that they don't like what they see and that they don't want to publish the arrangements. If they don't I still have the option of at least performing the works at some point, though I am hardly what you would call a performer. If they like the arrangements I won't get paid but these were, as the saying goes, a labor of love.
I also put finishing touches on a chamber sonata, a sonata for bassoon and guitar I finished back in the winter of 2008. I now have a duo sonata pairing the guitar up with the flute, the oboe, the clarinet, and the bassoon, covering all the essential members of the woodwind family. Sure, I could tackle English horn, alto flute, bass clarinet, and contrabassoon. I could even try writing for the heckelphone, I suppose, but I consider the woodwind sonata cycle to be complete for the time being. In the days of Haydn they might be taken together as a group and considered a single opus number like the Op. 76 string quartets. That is, admittedly, how I tend to see the sonatas for woodwinds and guitar, as a single collected work whose individual parts can stand alone.
I'm working on the same paradigm for the sonatas for strings and guitar. The violin, viola, and cello will all get duets with the guitar that are stand-alone works but that are also part of a larger whole.
No comments:
Post a Comment