118:'s narrative poem "The Pied Piper of Hamelin," arguably the most famous version of the tale. However, the composer altered the narrative to better fit a musical setting, explaining, "The biggest problem was that the legend per se had no elements of virtuosity in it; the Pied Piper played his song to charm the rats and lead them to destruction and piped a march to lead the children away from Hamelin, but there were no actual confrontations or tensions that could lead me to write virtuosically for the soloist. So I had to modify the story a bit, and I included battle scenes between the Piper and the rats and other elements that could set the soloist’s fingers racing." He added, "In restructuring the legend I had to provide a logical continuity for this story, but I also had to produce a satisfying purely musical structure so that the piece worked as a concerto for flute and orchestra too."
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170:; the orchestra proceeds in a coarse dialogue with the soloist, until the Piper can take no more. In the final movement "The Children's March," the soloist switches from flute to tin whistle as he begins lure the town's children away; for this movement, a group of child performers hidden amongst the audience begin to play and eventually follow the Piper onto the stage and out of the performance hall, leaving the sorrowful orchestra behind.
295:, remarking, " writing is full of illustrative goodies -- you can hear the rats march in and out, hear the townsfolk react and even hear the children being spirited away by the piper's golden tones." He continued, "But it's not clear that Corigliano's theatrical bonbon, a concert entertainment written for James Galway and based on Browning's poem, is the most interesting music on offer here."
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hardly be better." He added, "But what was even more exciting was that this could offer me a new way of writing a wind concerto. The idea of a programmatic fantasy-concerto based on the Pied Piper legend became a fascinating structural challenge. I contacted Galway with the proposal of writing a Pied Piper
Fantasy and, with his approval, started planning the work."
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observed, "Corigliano gives exuberant rein to his eclecticism in this seven-movement programmatic retelling of the Pied Piper of
Hamelin legend, combining Brittenish lyricism, new-fangled splashes of dissonance, old-fashioned virtuoso gestures (for both flute and tin whistle) and amusing onomatopoeic
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The first movement "Sunrise and the Piper's Song" illustrates the sunrise with "pointillistic night sounds" culminating in an orchestral tutti; it also introduces the "Piper's Song," which reappears throughout the work. The second movement "The Rats" uses the orchestra to simulate the squeaking and
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was critical of all but the final movement, writing, "...of strong ideas strong enough to sustain a structure nearly 40 minutes in length, there is not a sign. Even that modestly effective finale plays for nine-and-a-half minutes, approximately seven minutes longer than its several-times-repeated
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and to the idea of casting Galway as the Piper in his own flute concerto. The composer recalled in the program notes, "Galway as the Piper seemed the most natural thing in the world, for to many, myself included, he is a kind of Pied Piper... Here, the mating of personality and instrument could
246:. The score also calls for a group of child performers consisting of 9 to 18 flutists and two drums interspersed among the audience; this group plays only during the final movement, "The Children's March," when they gather on stage before following the soloist out of the performance hall.
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from the soloist. In "The Piper's
Victory," the "Piper's Song" reemerges as the Piper hypnotizes and finally defeats the rats. With "The Burgher’s Chorale," the townspeople of Hamelin are represented by a "pompous" chorale accompanied by a
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scurrying sounds of the rodents. In "Battle with the Rats," the soloist enters as the Piper and competes for dominance over the "rats" represented by the orchestra. In "War
Cadenza," the battle continues, featuring an extended
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in 1977. Corigliano postponed committing himself to the project, but kept it in mind. In the meantime, Corigliano studied Galway's performance techniques and began studying legends surrounding flutes and
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Not all criticism was positive, however. Despite saying it was "expertly tailored as a vehicle for the virtuosity and the highly individual timbre of James Galway," Michael Oliver of
394:"Q&A : Music for Our Time : John Corigliano finds a widespread audience drawn to his First Symphony, an intensely personal work written for friends lost to AIDS"
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material will bear and none of the other movements has half its character." Reviewing a recording of the piece with other flute concertos, Joshua Kosman of the
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Kosman, Joshua; Hurwitt, Robert; Winn, Steven (November 7, 2004).
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has a duration of roughly 38 minutes and is composed in seven
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337:"Pied Piper Fantasy, Concerto for Flute and Orchestra"
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478:"Corigliano Flute Concerto; Voyage"
42:and it is based on the tale of the
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1130:" (1965 Bob Dylan song)
1121:(1948 Copland Concerto)
511:San Francisco Chronicle
366:"Highbrow Music To Hum"
284:San Francisco Chronicle
230:, four percussionists,
1167:" (2009 Scooter video)
1158:" (1992 Megadeth song)
134:played without pause:
816:Pied Piper of Hamelin
153:The Burgher's Chorale
108:Pied Piper of Hamelin
44:Pied Piper of Hamelin
1212:Story within a story
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568:List of compositions
364:(January 31, 1982).
156:The Children's March
144:Battle with the Rats
50:under the conductor
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734:The Mannheim Rocket
150:The Piper's Victory
91:woodwind instrument
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1146:Pied Piper Fantasy
1139:" (1980 ABBA song)
1128:Mr. Tambourine Man
842:Cheating the Piper
760:Corigliano Quartet
709:Campane di Ravello
677:Other compositions
649:Pied Piper Fantasy
371:The New York Times
256:Pied Piper Fantasy
128:Pied Piper Fantasy
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104:tin whistles
83:James Galway
81:The flutist
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40:James Galway
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15:
1090:The Goodies
180:tin whistle
147:War Cadenza
72:Composition
1296:Categories
1184:Pied Piper
1176:Characters
1025:Television
983:Wild Blood
954:Literature
701:Revolution
594:Symphonies
483:Gramophone
344:Retrieved
311:References
277:Gramophone
238:(doubling
77:Background
1231:The Flies
1222:Testament
1188:The Flash
1137:The Piper
665:Triathlon
623:Concertos
250:Reception
220:trombones
202:), three
192:clarinets
168:bass drum
132:movements
122:Structure
60:Mark Swed
32:orchestra
1196:Rat King
1092:episode)
973:King Rat
912:Fluteman
902:Kummatty
776:Category
717:Vocalise
657:Conjurer
335:(2013).
299:See also
218:, three
216:trumpets
214:, three
210:), four
204:bassoons
190:, three
141:The Rats
24:concerto
1251:Related
1034:Hamelen
753:Related
289:Chen Yi
244:strings
242:), and
240:celesta
228:timpani
184:piccolo
163:cadenza
62:of the
54:at the
1079:story)
1016:(2009)
1006:(2005)
996:(2001)
986:(1999)
976:(1998)
966:(1994)
945:(2000)
935:(1986)
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905:(1979)
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745:(2010)
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688:(1965)
669:(2020)
660:(2007)
652:(1982)
644:(1977)
638:(1975)
632:(1968)
615:(2004)
609:(2000)
603:(1989)
586:(1991)
517:May 9,
489:May 9,
461:May 9,
433:May 9,
405:May 9,
377:May 9,
346:May 9,
1101:Music
685:Elegy
575:Opera
236:piano
212:horns
188:oboes
28:flute
22:is a
823:Film
519:2016
491:2016
463:2016
435:2016
407:2016
379:2016
348:2016
254:The
232:harp
224:tuba
198:and
126:The
30:and
26:for
16:The
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381:.
350:.
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