B0011046-080C-446B-A0A7-D6F0AA933531

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IDB0011046-080C-446B-A0A7-D6F0AA933531
TitlecodeX632711
Title NameThe Horse with the Lavender Eye for Violin, Clarinet and Piano
Marketing CopyThe sources for the titles of this trio are quite disparate, ranging from Carlo Goldoni to Japanese court music to the cartoonist R. Crumb, as well as 19th century Brazilian novelist Machado de Assis and Looney Tunes. Hartke forges these seemingly incongruous images in a vivid and intentionally quirky four movement tableau of musical episodes bound together with skillfully crafted motifs while retaining their slightly 'off-balance’ feeling.
InstrumentationViolin, Clarinet, Piano
CommissionCommissioned by the Chamber Music Society of Lincoln Center
Dedication(not set)
Program NotesI've always been fascinated by non-sequiturs, and the way that sense can suddenly appear out of nonsense. I also find imagery derived from words and pictures to be a great stimulus to my musical thinking, even if the relationships between the images I seize upon are not necessarily obvious or logical. The sources for the titles of this trio are quite disparate, ranging from Carlo Goldoni to Japanese court music to the cartoonist R. Crumb, as well as 19th century Brazilian novelist Machado de Assis and Looney Tunes. A bewildering array of references, to be sure, but one that somehow whets my musical appetite. Here are examples of just how: the ancient Japanese court, borrowing from the Chinese, was divided into left and right sides with ministries and music specific to each. The image of this official Music of the Left, suggested, first, the rather ceremonial character of my trio's first movement, and also its technical quirk: all three instruments are to be played by the left hand alone. In the second movement, the title of Carlo Goldoni's play, The Servant of Two Masters, seemed to me an apt description of the performance dynamic involved in this particular combination of instruments, where the piano, in somewhat of a frenzy, serves alternately as the accompaniment to the clarinet while the violin clamors for attention, and vice versa. The third movement was suggested by a very short chapter in Machado de Assis' novel Dom Casmurro wherein the narrator, observing that his story seems to be waltzing at the abyss of final catastrophe, seeks to reassure his reader (falsely, as it turns out) by saying: "Don't worry, dear, I'll wheel about." For the finale, I had in mind a panel from one of R. Crumb's underground comics of the late 60s showing a character dashing about in an apocalyptic frenzy, shouting, among other things, "Cancel my rumba lesson!" The connective thread of all these images began to dawn on me only in the midst of composing the work: all the movements have to do in one way or another with a sense of being off-balance -- playing music with only one side of the body; being caught between insistent and conflicting demands; dancing dangerously close to a precipice, and only narrowly avoiding tumbling in; and, finally, not really being able to dance the rumba at all. Nonetheless, in the very end (the rumba lesson having been canceled, I suppose), a sense of calm and equilibrium comes to prevail.
Title Brand2
Year Composed1997
Copyright Number(not set)
Copyright Year(not set)
Duration16
Ensemble Size3
Date Created2008-10-31 20:33:14.000000
Date Updated2025-09-30 20:33:14
Inhouse Note5 yr term agreement.
Bsc Code(not set)
Text Author(not set)
Premier Performance Memo(not set)
Recording CreditsRecorded by
Xak Bjerken, Richard Faria, and Ellen Jewett, on Chandos 10513
Review(not set)
Awards(not set)
Title Category2
Title MovementsI. Music of the Left
II. The Servant of Two Masters
III. Waltzing at the Abyss
IV. Cancel My Rumba Lesson
Title Grade(not set)
Set Series ID(not set)
Title Instrument Category TextTrio
Title Sub Category Text(not set)
Title Sub Category-1
Title Instrument Header18
Title Grade Text(not set)
Clean Urlthe-horse-with-the-lavender-eye-for-violin-clarinet-and-piano-x632711