Update Title: E8752D69-32F4-469A-9FC3-564B913396DA

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Michael Cohen completed his Fantasie for Flute, Piano and String Quartet in 1987, upon commission by For The Love Of Music.

Mr. Cohen entitled this work Fantasie because he considers It to be an extended developmental work comprised of numerous sections, rather than a dreamy, fanciful work as the title might suggest. The piece is structured In one long movement. The Introduction presents the Initial melodic material to be developed throughout the work. The basic character of the theme is a dotted rhythm using minor second Intervals that emphasize the chromaticism so prevalent within the work. This is followed by a section marked Allegro molto in which related thematic material (a tone row) develops and continues to unfold. Soon there is a return to the introductory theme that recurs through the remainder of the piece with new rhythms and metrical relationships. After a brief section In E major, there Is a return to the Introductory material and then a coda In which the first them and coda theme battle one another.

Constantly present here is a contrast between major and minor modalities, agitation and lyricism, and twelve-tone and diatonic tonality. The listener will most likely hear the intense drive from beginning to end, the quality of "spinning out" the musical material, and the Importance of communication between all of the musicians In the ensemble.

Originally scored for string trio, flute, and harp, Mr. Cohen later added the violin, and replaced the harp with a piano. This occurred because, as the musical material grew through the compositional process, It required greater resonance and richness than the composer originally expected.

In closing, It may be of Interest to note that Fantasie makes a turning point In Mr. Cohen's compositional work. This Is because It Is his first departure from music with a text and plot In newly ten years. Mr. Cohen was challenged by this opportunity to write an abstract work for Instruments only, and uses his melodic material here In a developmental sense that perhaps a story or plot would also have led him to do. He also uses twelve-tone row techniques, but places them In a romantic, highly accessible tonal Idiom because his primary goal - consistent with all his compositions - is to reach and emotionally move the listener. --Michael Cohen

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