Yearning for flute quartet

This composition was created in 2004 for here presented quartet. So far it is quite successful: performances in Slovenia, Croatia, Belgium, USA, New Zealand; published by ALRY Publications and won a prize by National (American) Flute Association in 2014 as the best flute ensemble piece published in USA. I can't complain at all

When composed, I also considered it as one of my finest chamber composition. It was pretty bold for me back then, today I'd probably try something even more daring. The title refers to yearn for something that seems impossible to reach but eventually it happens!

I can only say this is a gift... I can't comment on technical issues, you're a great composer.

So I can say if I like it or not. Yes, a lot... our harmonic language is fresh. The score is a plus plus, I learn looking at it.

I like it too. When you say 'try something more daring' do you mean something more challenging for the players or for the listener?

On 24. 5. 2016 at 2:55 AM, Ken320 said:

I like it too. When you say 'try something more daring' do you mean something more challenging for the players or for the listener?

 

I prefer to think for my own development. I used to be very "conservative" but I am recently far more open to bold musical elements and techniques.

3 minutes ago, Sojar Voglar said:

I used to be very "conservative"...

 

I guess that makes me some sort of a fossil.

I wouldn't call this too out there.  It's wonderful storytelling music.  You need Disney to do another "Fantasia" and animate this for one section.  :D  I particularly like all the "wind tones."  Now I'm a curious as to what you would add, in your more developed state, if you were to do something like this again.  Was there a particular technique you were itching to try?

6 hours ago, pateceramics said:

I wouldn't call this too out there.  It's wonderful storytelling music.  You need Disney to do another "Fantasia" and animate this for one section.  :D  I particularly like all the "wind tones."  Now I'm a curious as to what you would add, in your more developed state, if you were to do something like this again.  Was there a particular technique you were itching to try?

 

This was the first time I was trying to compose slaps for flute (on this recording, the alto flutist was not yet skilled to play slaps though), more freely floating music with sense of lacking clear pulsation (the aleatorics cannot be found in my music until 2008) while thinking how could I become more sort-of atonal without betraying my love for beauty in music.