Richard and Renée

Description

Piccolo, Flute 1, Flute 2, Flute 3, Flute 4, Oboe 1, Oboe 2, Clarinet in Bb, Bass Clarinet, Bassoon 1, Bassoon 2, Contrabassoon, Soprano Saxophone, Alto Saxophone, Tenor Saxophone, Baritone Saxophone, Trumpet in Bb 1, Trumpet in Bb 2, Trumpet in Bb 3, Horn in F 1, Horn in F 2, Horn in F 3, Horn in F 4, Trombone 1, Trombone 2, Bass Trombone, Euphonium, Tuba, Piano, Contrabass, Timpani, Percussion 1, Glockenspiel, Triangle, Suspended Cymbal, Crash Cymbals, Tambourine, Mark Tree, Güiro, Ratchet, Cowbell, Whistle, Percussion 2, Vibraphone, Triangle, Suspended Cymbal, Bones, Sand Block, Snare Drum, Crash Cymbals, Chime, Bongos, Temple Block, Whistle, Whistle, Percussion 3, Xylophone, Triangle, Suspended Cymbal, Snare Drum, Bass Drum, Cabasa, Vibraslap, Hi-hat Cymbal, Bongos, Sleigh Bells, Whistle — Carter Pann’s Richard and Renée was written as a gift for two musician friends of his, Renée Kershaw and Dick Floyd. The first movement, “Renée’s Reply,” is a musical portrait of the time the composer spent with his friend in Italy. According to Pann, “the music strives for a poignancy inspired by this new event in their relationship accompanied by a backdrop so beautiful it defies words. A writer/composer (anyone, for that matter) cannot live on the Amalfi Coast and remain unchanged, unmarked.” The second movement, “Floyd’s Fantastic Five-Alarm Foxy Frolic,” is in a playful ragtime style, with an ending that the composer describes as “over the top.”