Chamber Music
8 Nov 2011
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Lein: Fanfare for Oboe and Viola
Composer: Edward Lein
Recording Date: Sat 17 Sep 2011
Eric & Ellen Olson, performing "Fanfare," composed for the San Marco Chamber Music Society concert to benefit juvenile diabetes research, September 18, 2011.
Fanfare for Oboe and Viola (1:15) N/A
Lein: Sonatina for Cello and Piano
Composer: Edward Lein
Recording Date: Sun 13 Mar 2011
Composed in 2010. The movement has been retitled 'Finale,' with the addition of two preceding movements ('Prelude' and 'Fugue') were added in 2012.
III - Finale (Bygones) (6:12) N/A
Lein: September for Clarinet and Piano
Composer: Edward Lein
Recording Date: Tue 9 Feb 2010
September (2008, dedicated to Music @ Main volunteer Betsy Ferraro) is a straightforward arrangement of a song composed on a text by American poet Carlos Wilcox (1794-1827), that begins, “The sultry summer past, September comes, Soft twilight of the slow-declining year.” The sustained lyricism of the music, essentially a waltz sandwiched between a contemplative introduction and its reprise, aims to capture the poet’s Romantic mixture of melancholy reflection and awestruck wonder, as the fading summer gives way to shorter days amid the glittering beauty of fall foliage mirrored in a mountain creek.
September, for Clarinet & Piano (6:01) N/A
Lein: Piano Trio. 3. Dark Eyes
Composer: Edward Lein
Recording Date: Sun 10 Oct 2010
Based on the famous Russian gypsy waltz of the same name, Dark Eyes originally was requested for a concert featuring a Russian cellist (Alexei Romanenko), a Polish violinist (Piotr Szewczyk), and a Cuban pianist (Ileana Fernandez). Tongue-in-cheek and bordering on campy, these "Variations in the Form of a Sonatina" transform the Russian tune using rhythms of the Polish polonaise and the Cuban havanaise. The sonatina form is essentially in E minor, but it is sandwiched between an Introduction and a Coda, both in A minor. The Introduction begins with the solo cello presenting a rather grandiose "theme." This is immediately repeated, but with the violin and piano enveloping it in stormy, fanfare-like flourishes. The violin takes up the sonatina's "first subject" Polonaise, perhaps more reminiscent of circus music than of a stately Polish promenade. The piano and cello provide accompaniment while alternating bits of the original tune. A transitional section presents two more variations. The first has a turning and leaping motive pitted against dotted rhythms. The second changes meter to set up the havanaise rhythm of the "second subject." Named for the Cuban capital, the Havanaise is introduced by the piano. Melodically, it is an inversion of the Dark Eyes tune, no longer in a minor mode. Where the original waltz is tightly wound, this variation opens up with exuberant leaps, rather like giddy children on a see-saw. The addition of a prominent C# -- a "raised 4th" in an otherwise mainly G-major harmonic background -- recalls the raised fourth that Dark Eyes begins with. In addition to providing an exotic, Lydian coloring to the harmony, the raised 4th enhances the leaping, light-headed feeling by never quite allowing the tonality to settle. At the beginning of the "development section" the cello takes up the Polonaise, but the violin and piano fight the cello for prominence as they hammer away with variations in 16th-note patterns. Immediately following a general pause, the Dark Eyes tune appears in the piano's bass line, while the strings saw away with tremolo double-stops. Against sustained D-minor chords, the piano takes over the Polonaise in a melodic "recap" of the first subject. Rather than re-establishing the expected E-minor tonality, this section looks forward to the Coda, serving a sub-dominant function to the A-minor tonality that begins and ends the entire piece. The return of the Havanaise tentatively re-establishes E as the key-note, and it fades into a fugal variation that begins firmly in E-minor. The Coda begins with a straight-forward presentation of the Dark Eyes waltz by the cello, while the violin sings a plaintive descant above a simple chordal background from the piano. The players conclude with a reprise of the stormy fanfare from the Introduction.
Dark Eyes: Variations in the Form of a Sonatina, for Piano Trio (6:25) N/A
Lein: Duo for Bassoons
Composer: Edward Lein
Recording Date: Sat 12 Jul 2008
Duo for Bassoons (6:08) N/A
Lein: Sonatina for Violin and Piano N/A
Composer: Edward Lein
Recording Date: Sat 21 Jul 2007
The Sonatina was composed in the summer of 2007, at the suggestion of violinist Max Huls, who premiered the work the following June with pianist Christine Clark. As the title suggests, its direct, neoclassical style incorporates familiar formal patterns. The first movement adopts the precepts of sonata form, and the Nocturne presents a languid tune that alternates with a hymn-like chorale. The final Scherzo is an incisive transformation of the second movement theme, and its “trio” section further transforms the tune into a rather mundane parlor waltz which gains character as it progresses.
I - Allegro moderato (5:37) N/A
II - Nocturne (4:48) N/A
III - Scherzo (Finale) (3:45) N/A
Lein: Bartok's Ghost, for unaccompanied Violin
Composer: Edward Lein
Recording Date: Tue 15 Apr 2008
Bartok's Ghost, for unaccompanied violin (5:12) N/A
Lein: In the Bleak Midwinter, arranged for Flute and Harp
Composer: Edward Lein
Recording Date: Tue 1 Apr 2008
In the Bleak Midwinter, arranged for flute and harp (4:03) N/A
Lein: Suite for Violin and Cello "Un Dulcito" N/A
Composer: Edward Lein
Recording Date: Wed 22 Apr 2009
I - Hoodoo (Samba) [synthesized] (3:14) N/A
II - Tangle (Tango) [synthesized] (3:07) N/A
III - La llorona (The Weeping Woman) [synthesized] (3:46) N/A
IV - Rumor (Rumba) [synthesized] (3:59) N/A
Lein: Suite for Violin and Cello "Un Dulcito" N/A
Composer: Edward Lein
Recording Date: Tue 16 Sep 2014
I - Hoodoo [live] (3:22) N/A
II - Tangle [live] (3:35) N/A
III - La llorona [live] (5:14) N/A
IV - Rumor [live] (4:02) N/A
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