Trifecta! | Cumulus Accumulation

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Cumulus Accumulation

by Trifecta!

Trifecta! is a clarinet, bassoon, and piano trio dedicated to performing the best music for this combination and expanding the repertory through commissioning new works.
Genre: Classical: Chamber Music
Release Date: 

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  Song Share Time Download
1. Cumulus Accumulation
5:55 $0.99
2. Variations in G Minor for Clarinet, Bassoon and Piano
11:05 $0.99
3. Aeolian Muses for Clarinet, Bassoon and Piano
11:09 $0.99
4. Reverie
2:19 $0.99
5. Revelry
3:45 $0.99
6. Suite No. 2: I. Marcia a Cinque
2:33 $0.99
7. Suite No. 2: II. Espressivo e rubato
3:20 $0.99
8. Suite No. 2: III. Allegretto grazioso ma picante
3:01 $0.99
9. Suite No. 2: IV. Andante cantando
2:28 $0.99
10. Suite No. 2: V. Allegro con slancio
2:59 $0.99
11. Capriccio for Clarinet, Basson and Piano
8:54 $0.99
Downloads are available as MP3-320 files.


Album Notes
Trifecta! is a trio consisting of Dr. Lori Baruth, clarinet, Dr. David Oyen, bassoon, and Dr. Chialing Hsieh,
piano. As advocates of new music, they have commissioned several composers, including Mark Zanter,
Christopher Weait, and Michael Young, whose music can be heard on this debut album. Trifecta!
has performed at the International Clarinet Association (ICA) ClarinetFest (Louisiana State University),
ICA Mid-America Festival (Ohio State University), the Kentucky Music Teachers Association State Conference
(Murray State University), the Marshall University New Music Festival, the Kentucky Music Educator’s
Association State Conference, and at Lutheran Summer Music Academy and Festival (Luther
College). Dr. Baruth is a Yamaha Performing Artist and plays Yamaha CSG II H clarinets. Dr. Oyen plays
a Fox 601 (20401) with a Leitzinger ML1 bocal. All three members of Trifecta! are on faculty at Morehead
State University in Morehead, KY.

Mark Zanter, Cumulus Accumulation
Cumulus Accumulation is a metaphor for change or growth whose interpretation is freely varied
throughout the work. One might imagine clouds of sounds emerging and evolving slowly over time; in
the largest sense this is true as it relates to the three harmonic fundamentals used in the work (C-E-Ab),
but other possibilities are explored especially in the realm of rhythmic textures, varied rates of change,
and the combination of pitch resources. The listener may choose to engage with this metaphor, or find
her own way. Many thanks to Trifecta! for commissioning the work; it has been a great pleasure for me
to work with musicians of such high caliber. (submitted by the composer)

William Hurlstone, Variations in g minor
William Yeates Hurlstone is noted today for his Sonata for Bassoon and Piano (1904) and his Four Characteristic
Pieces for Clarinet and Piano (1900). His first venture into writing for clarinet and bassoon, however
was in his trio, Variations in g minor, written in 1894 at the age of 18, shortly before his admission to
the Royal College of Music. It consists of a lyrical andante theme, nine trio variations and one interlude
for piano alone. He later re-used the theme and the third variation from this trio in his orchestral work
Variations on an Original Theme (1896). His trademark romantic style is evident in this early trio. This is the
first recording of this work. (Submitted by David Oyen)

Nancy Galbraith, “Aeolian Muses:”
“Aeolian Muses” was commissioned by Trío Neos in 1993 with a grant from Fideicomiso para la Cultura
Mexico/USA. The work is divided into two large sections. The first section is ‘allegro’ with a lyrical
duet between the clarinet and bassoon, accompanied by rhythmic motives in the piano. This section
is preceded by a slow introduction which presents material that will also be used to link the two larger
sections. The second section is ‘presto’ with a repeated note figure in the piano, and staccato motives
in the clarinet and bassoon. (As listed on

Christopher Weait – Reverie and Revelry
Reverie and Revelry for clarinet, bassoon and piano was composed in 2014 at the invitation of the ensemble
Trifecta, whose members Lori Baruth, clarinet, David Oyen, bassoon and Chialing Hsieh, piano,
premiered and have now recorded the work. The two movements are polar opposites in mood. Reverie
is in ABA form and calls upon the somber wind instrument sounds to create a reflective atmosphere.
Revelry, on the other hand, is cheerfully unbuttoned, employing the irregular meter of seven-eight time
and a slightly illicit rondo form wherein the ritornello reappears with changed rhythms. (submitted by
the composer)

Alec Wilder, Suite No. 2 for Clarinet, Bassoon and Piano
Alec Wilder composed his Second Suite for Clarinet, Bassoon and Piano in 1974 at the invitation of his
friend Bernard Garfield, then Principal Bassoonist of the Philadelphia Orchestra, who premiered and
recorded this work with clarinetist Anthony Gigliotti and pianist Amelia Gigliotti (the Academy Trio).
The work features all possible pairings of the three instruments and extensive solo sections for each
performer without the other instruments. The first and fifth movements are the only true trio movements.
The second movement features the clarinet alone and with piano; the third the piano and clarinet/
bassoon duo; and the fourth features the bassoon alone and with piano. In this piece, Wilder mixes
eclectic style characteristics of mid-twentieth Century Composers like Hindemith (quartal/quintal harmonies,
extensive counterpoint, etc.) with the more popular melody and harmony he became known
for in his standards such as “I’ll Be Around”. (submitted by David Oyen)

Michael Young, Capriccio for Clarinet, Bassoon and Piano
Composed in 2014, the Capriccio for Clarinet, Bassoon, and Piano is a stylistically eclectic nine-part
rondo whose refrain is a melodic series of seven twelve-tone rows in a two-phrase group. Recurrences
of the refrain undergo substantial changes in harmony, rhythm, texture, register, and instrumentation,
but the melodic pitch sequence remains identical. The four episodes, motivically derived from the
twelve-tone rows, consist of: 1. a playful contrapuntal dialogue among the instruments, 2. an extended
lyrical melody for bassoon then clarinet with a swirling piano accompaniment, 3. slow, sinister grumblings
with tip-toeing melodic fragments, and 4. a traditional ragtime strain followed by a rag in swing
rhythms. A fugato presentation of the final refrain builds to a climactic coda that combines the second
episode melody in the piano with the winds chattering on fragments from the refrain. (submitted by
the composer)



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