L. Subramaniam, Brandenburger Symphoniker Orchester & Maestro Michael Helmrath | Double Concerto for Violin and Flute

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Classical: Concerto World: Indian Classical Moods: Type: Instrumental
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Double Concerto for Violin and Flute

by L. Subramaniam, Brandenburger Symphoniker Orchester & Maestro Michael Helmrath

This crossover concerto for solo violin and flute is a unique blend of two classical systems: South Indian classical (Carnatic) and Western classical.
Genre: Classical: Concerto
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1. Double Concerto in E Major, Ls 231: I. Allegro L. Subramaniam, Brandenburger Symphoniker Orchester & Maestro Michael Helmrath
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15:39 album only
2. Double Concerto in E Major, Ls 231: II. Rubato L. Subramaniam, Brandenburger Symphoniker Orchester & Maestro Michael Helmrath
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12:13 album only
3. Double Concerto in E Major, Ls 231: III. Allegro Non Troppo L. Subramaniam, Brandenburger Symphoniker Orchester & Maestro Michael Helmrath
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13:20 album only
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ABOUT THIS ALBUM


Album Notes
Double Concerto for Violin and Flute was the first orchestral commission Dr. Subramaniam received from the Los Angeles-based new American Orchestra in 1983. For the premiere, there were two soloists for the composition with the orchestra -- Dr. Subramaniam on the violin and Mr. Hubert Laws on the flute. In this album, the flute soloist is Michael Martin Koefler.

Double Concerto is based on a "neo-fusion" idiom, created by the composer in the early 70s taking the best of both Eastern and Western classical systems of music. Though the piece is based on three movements -- fast, slow and fast -- the elements of the first movement also appear in the other movements thus creating a new form using both the Western Concerto and the Indian 'Kriti' forms.

There are solo improvisational sections in each movement in which the Indian violin soloist improvises using the microtonal, modal system while the Western soloist uses the tempered system of Western classical music. There is a very strong blend of the tempered and microtonal systems with a poly-rhythmic structure, a unique and original trademark of the composer. There are modal passages which alternate with passages rich in harmony, the harmony being derived from the mode itself.

There are segments with poly-rhythms and complicated rhythmic patterns created by the Indian soloist and the rhythmic accompaniment. The cadenzas in all the three movements are completely improvised based on the modal system by the Indian violin soloist along with the Indian percussion accompaniment.


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