Shakespeare's Winks [solo recorder or flute or oboe or clarinet or sax or violin]
Clarinet - Digital Sheet Music

Instrumental Duet Flute,Instrumental Duet,Recorder - Level 3 - Digital Download

SKU: A0.596514

Composed by Juan María Solare. 20th Century,Contemporary,Standards,World. Score and parts. 18 pages. Juan Maria Solare #3386701. Published by Juan Maria Solare (A0.596514).

Shakespeare's Winks

three pieces for recorder (and percussion ad libitum) or flute, piccolo, cello, or any other melodic instrument.

 

1) Puck's Pranks, 1:45

2) Cesario's Trap, 2:15

3) Mercutio's Puns, 3:00

Total duration: 7:00

All these pieces are related to different Shakespeare's characters:

 

- Puck is a great major character from Midsummer Night's Dream. There are allusions to Shakespeare's lines hidden in the score. As example: "Merry, shrewd and knavish" (the performance indication in Puck's Pranks) is how Shakespeare describes Puck in Midsummer Night's Dream, act 2 scene 1. ("I am that merry wanderer of the night."; "Or else you are that shrewd and knavish sprite"). I can confess that since 1993 at the latest, and perhaps before, I want to compose something related to Puck.

 

- Cesario is actually Viola disguised as a man in Twelfth Night. The trap is that she cannot get out of that character that she invented and get trapped in the fiction (but there is a happy end). "I am not what I am." This quote is included in the score of Cesario's Trap.

 

- Mercutio is an important secondary character in Romeo and Juliet, he is a friend of Romeo who permanently makes puns, word plays. For instance "Dreamers often lie", in the double sense of "not saying the truth" and "being horizontally in bed".

Musical language

 

The musical language in Shakespeare's Winks is decidedly tonal (and modal). This piece provides an accessible avant-garde sound with a transparent "melocentric" approach with a significant emphasis on rhythm. Shakespeare's Winks can be classified in the genre contemporary classical genre, neo-classical or new simplicity.

 

Pedagogical aspect

 

When asked why Shakespeare's Winks is adequate for the curriculum at conservatories or music schools, Cecilia Piehl answered:

 

Shakespeare's Winks is written in an ideal range for the piccolo, where you can work sound in beginners or half-advanced students. The highest register in the piccolo is a big challenge, and generally is in the high register where band and orchestral Solos are written. As a result, many students who are just beginning to play the piccolo, are forced to study "on extreme repertoire".

 

This work offers a wide variety of articulations, which are so important in the piccolo. It is written so that one can practice all these articulations exaggerating them in an almost extreme way.

 

The phrases are not very long and that removes much of the problem of tuning; the three movements allow to focus on this issue, but without asking miracles from the student, especially if they are beginners.

 

If we consider the character of the three movements, we find much variety: you can practice the cheerful and lively temperament but also the slow, almost melancholic one. These are two very different roles to play in the piccolo but also very typical, and one must be trained in order to use them. Playing slow and melancholic in the piccolo is difficult to achieve and there are not many pieces that use it - in the initial levels. Indeed, "Cesario's Trap" (the second movement of this work) is very accessible to read and technically speaking, but it allows to practice that expressive slowness.

 

About Cecilia Piehl: http://ceciliaprice.instantencore.com

 

Recording

 

Shakespeare's Winks was recorded by Cecilia Piehl (piccolo) on May 4, 2016 at Ke.