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Concerto for Flute

"Icarus"

for flute and large orchestra

Duration - approx. 20 min.

Program Notes:

Concerto for Flute was written for and with the assistance of Sophia Tegart.

Ovid wrote, “And all look up, in absolute amazement,/At those air-borne above.  They must be gods!”  Concerto for Flute did not begin attached to the myth of Icarus and his father Daedalus.  It began as a concerto for Sophia Tegart, a piece to showcase her incredible ability and facility on the flute.  Slowly, Concerto for Flute developed into a three movement battle between the flute and the orchestra, sometimes the flute leading, sometimes the orchestra.  Still, it did not have any programmatic elements and I wasn’t initially sure I wanted any.

Then it came time to name the piece…

I wanted it to have a subtitle, so it wouldn’t just be a “concerto for flute”.  That was when I started analyzing the character of the piece and what it wanted to say.  The end was very tragic, with the flute losing the battle and being swallowed up by the orchestra.  An ending like that seemed ideal for Greek or Roman tragedy.  Shortly thereafter I came up with the idea of “Icarus”.  Indeed, the flute feels to be a kindred spirit to the young boy, full of mirth, wonderment and even hubris.  After rereading Ovid, I decided upon the following tale for the concerto.  Of course, certain skeptics might scoff at the idea of programmatic elements added after the composition has been completed.  If you feel this way, then by all means disregard the programmatic elements.  For those that need some sort of story to become engaged in the work, here it is.  Enjoy.

I – Taking Flight:  The first movement envisions Daedalus creating the wings and teaching his son to fly.  Like a baby bird, Icarus has many failed attempts before finally feeling comfortable.  The movement ends with Icarus being warned not to fly too close to the sun, but nonetheless soaring high above his father

II – Among the Gods:  Icarus and Daedalus are flying toward freedom and home.  It is from below that we view them, above us like Gods, soaring over the farmers, fishermen and shepherds.  They swoop and dive, veer and glide, chasing birds and skimming the water.  Icarus feels the salty air and the joy of flight.

III – Melting Wax:  The hubris of flight has blinded the boy to his father’s warning.  Icarus flies higher and higher, making dangerously fast turns and maneuvers.  He continues upward until he is gazing at the clouds below.  That is when the wings begin to break apart.  He desperately tries to keep it together, but is unable.  He is now waving featherless wings wildly, falling toward the sea.  Icarus reaches out to his father but it is too late: the boy has been swallowed by the sea.

the second movement has been recorded by Sophia Tegart and Kairy Koshoeva on May 14th in Kansas City, MO.

The third movement was premiered on Feb. 25th, 2009 by Sophia Tegart and the UMKC Orchestra in Kansas City, MO.

The second movement was read on March 13th, 2009 by Sophia Tegart and the UMKC Orchestra in Kansas City, MO.