Concerto for flute and orchestra. Martinsson's flute concerto Shimmering Blue , is the first work ever written for Magnus Båge's invention Expression Slide - five minutes of the work have been dedicated to this new technique.
See video clips with Magnus Båge and the Expression Slide in Shimmering Blue
Sound samples: Magnus Båge, solo Malmö Symphony Orchestra, cond. Mats Rondin Daphne 1029
Composer's web comment: "Composing a solo concert at its best involves an exciting collaboration with a dedicated and skilled musician and performer. From such a collaboration can come ideas and whims that make a work original in a way that it might not have been otherwise. Early on composing my flute concerto, I felt that it would be something different. Magnus Båge, for whom I wrote the piece, told me about an invention he made on his flute that could perhaps be introduced for the first time in my flute concerto. , which allows you to perform glissandos on the flute, a maximum of a third up or down. It was sensational to listen to and of course extremely exciting to relate to as a composer. A whole section of the flute concerto has therefore been dedicated to the exploration of this technique. The work's title, Shimmering Blue, refers in part to these glissandi in the solo flute because the glissando playing is reminiscent of a kind of "Blue Notes" found in jazz music. But Shimmering Blue also refers to a shimmering timbre that changes throughout the work, which I tried to create and keep alive through constant variation and extensive detail work in the instrumentation of the work. Shimmering Blue can generally be divided into five separate parts. The opening movement has a restrained orchestral background against which the solo flute develops its melodic line more and more. Even here there is tonal material, glissandi and tremoli in the line, which foreshadows, among other things, the glissandi of the solo flute later in the piece. This is followed by an expressive part where orchestra and soloist culminate in joint melodic and dynamic gestures. In the dolcissimo of the third movement, the mysterious glissandi of the flute is exposed, which is also taken up by the strings. The fourth movement, a flute solo cadenza, comments on and reshapes earlier melodic material as well as the melodic material that follows in the fifth and final movement. This final part is lightning fast and highlights the work's new timbre shifts and shades."
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