related works

Transparent Waves : for two pianos and two percussionists / Douglas Knehans

Genre: Chamber music
Subgenre: Mixed ensemble (2-12 players)
Scoring: 2pf 2perc

Resurrecting Persephone : for flute and chamber orchestra, 1999, revision 2000 / Vanessa Lann

Genre: Orchestra
Subgenre: Flute and orchestra
Scoring: fl fl(pic) ob eh 2cl fg cfg 2h 2trp 2trb tb 2perc hp pf str(8.6.5.4.2.) fl-solo

Concerto : per flauto ed orchestra / Hans Henkemans

Genre: Orchestra
Subgenre: Flute and orchestra
Scoring: 3333 4331 timp perc cel hp str fl-solo

Toward the edge of night : for flute and chamber orchestra, 1989 / Walter Hekster

Genre: Orchestra
Subgenre: Flute and orchestra
Scoring: 0221 1110 4perc hp pf str fl-solo

composition

Tempest : Concerto for flute and orchestra / Douglas Knehans

Other authors:
Knehans, Douglas (Composer)
Description:
The title of this work refers to rough wind. When I was approached me about a new flute work the idea of a virtuosic wind player set my imagination to types of crazy, unrestrained wind. This led me to look into the natural occurrences of wild, unpredictable wind patterns around the world. This led in turn to the titles of the three movements: Ostro the traditional name of the southerly wind in the Mediterranean sea; Mistral, a cold northerly from central France and the Alps to Mediterranean–this movement I have also allied to the notion of a type of funeral march, hence the title Mistral… Funerailles with the cold wind perhaps summoning the notion of death and impermanence. Finally, the last frantic and virtuosic movement is titled Etesian which references a strong, dry north wind of the Aegean Sea which is most of the time a good steady sailing wind. The well-contained and metrical virtuosity of this movement seems to align with this welcome and sustaining wind that is good for travel.
In artistically interpreting all of these types of global wind patterns I have tried to invest a dramatic and virtuosic element to the corresponding wind music. I was asked for a piece without restrictions and so a concerto seemed the obvious vehicle for the soloist’s awesome technical power and completely beautiful musicianship. I am extremely fortunate to have Gareth Davies, principal flute of the London Symphony Orchestra, as the soloist for this work.
Douglas Knehans