Trio for Flute, Clarinet, and Piano

Hey, I wrote this chamber piece in three movements back over the summer.

The Allegro first movement is bright and peppy and in some places sounds a bit fugal. The Nocturne second movement is a melody that I composed earlier but couldn't find a place to put, so to speak. And finally, the third movement is a theme and variations on one of Bartok's little melodies from Romanian Folk Dances. Both the theme and the variations are brief, but each variation gets progressively more distant from the theme, and each is very different in mood.

Please listen and review! It's very easy to stomach (I'm sorry it's in so many files)!

I- Allegro.MUS

II- Nocturne.MUS

III- Variations on a Theme.MUS

IMSLP Orchestral parts.pdf

Well I really enjoyed these. The first two movements especially, although the third I wasn't crazy about. The first had a carefreeness that was nice, and the interplay between the clarinet and the flute was also very interesting. The second was also very beautiful I thought. I may be bias against the third movement because I don't like Bartok or the theme and variation form in general, but to me it lacked the fun and interest of the first two movements. The third variation, I liked the Asian sound, but throughout I thought the harmony was not as satisfying and the ideas weren't as interesting. Not to say that it was a bad movement, but I don't feel like it lived up to the quality of the first two.

By the way, are you related to Mark Salamon? He's a teacher of mine

I've just listened to the second movement, and I have to say, it's lovely. Many attractive harmonies and the theme was rather pretty. A few problems I do have is that it only feels like an A section. I feel like there should have been a modulation and a second theme introduced in response.

Also, the piano part is rather boring. It follows the same rhythm pretty much throughout and there isn't a whole lot of interest. I'd recomend a few rhythmic embelishments here and there.

I wasn't much of a fan of the flute and clarinet doubling in the beginning. I felt like there were more interesting things you could've done with the fllute. Either write a different line for the flute to counter the clarinet or trade the melody between flute and clarinet at different points.

On a side note, do you by chance happen to like any Japanese incidental music? Having heard two of your pieces, I can hear a clear influence in it.

By the way, are you related to Mark Salamon? He's a teacher of mine

Reyeahman, thank you for commenting, I appreciate it. No, I am not related to a Mark Salamon that I know of.

On a side note, do you by chance happen to like any Japanese incidental music? Having heard two of your pieces, I can hear a clear influence in it.

Nirvana, I think I agree with your criticism. I shall have to make the piano part more interesting and perhaps make a second theme. It's interesting that you compare my music to Japanese incidental music... One of the first times I was inspired to compsose was after I listened to the score to Spirited Away and Nausicaa. Apart from those movies, however, I am not familar with Japanese film music. Maybe that experience shaped in some way, though.

Hm thats funny. He has a son who is a composer who also composes in sort of this style... can't remeber his name though.

Thats a weird coincidence

The Nocturne is very beautiful with a clear Asian sound. I'll second the comments of Rey... even though I think the doubling of flute and cl. made an impact on me. It slows down the progression of the piece in a meditative way. / BR Tomas F.