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Death Whistle: I. Ear Knife

from Aviary by Elizabeth Robinson

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about

In her piece notes, Nicole Chamberlain writes, “The piccolo is notorious for its incredibly high pitches and gets a bad rap for its intonation issues. It takes a brave soul to consider playing the piccolo and a person of questionable character to love it.”

This piece evolved from a desire to collaborate with composer and long-time friend Nicole Chamberlain. As any orchestral piccoloist will tell you, setting up for rehearsal can involve certain amount of complaining from immediate neighbors and negotiating comfort with distance, sound shields, and earplugs. As Nicole and I were working out the details of a commission for solo piccolo, I shared photos of a three-sided plexiglass wall, meant to save the second violins from the finale of Verdi’s Requiem and a particularly high passage in one of Howard Hanson’s symphonies. If I complained about specific excerpts from our season Nicole took note - literally - and Death Whistle was born.

”Ear Knife” spotlights the cutting, razor sharp character of high notes - there are references to that Verdi rehearsal, “Ballistophobia,” or the fear of being shot, is a tongue-in-cheek take on the joke that starts, “How do you tune two piccolos?” The final movement, “#PiccoloOhMyGod” started as a hashtag joke between composer and commissioner, and quotes a number of “fun” moments from piccolo literature.

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from Aviary, released March 24, 2023

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Elizabeth Robinson South Dakota

Flutist Elizabeth Robinson is an active soloist, orchestral, and chamber performer. Among her passions is the commissioning of new music, creating educational opportunities for her studio, and participating in exciting chamber ensembles.

In addition to her position as the Diana Osterhout piccolo chair of the Topeka Symphony, Elizabeth is an Assistant Professor of Music at South Dakota State Univ. ... more

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