Commissioned by flutist John Solum and written in 1967, Aulos was premiered in 1971 by the Indiana University Chamber Orchestra, with John Solum acting as the soloist and Wolfgang Vaccano conducting. The work derives its name from the eponymous ancient Greek instrument, which was double-reeded and contained a two-piece pipe and finger holes. One piece contained a bag that allowed for a continuous sound, making it more akin to bagpipes than to the modern-day flute, while the other piece acted independently of the first. In Kay’s work, the texture of the supporting instruments act as the supporting, yet highly reactive drone, while the flute acts as the melodic piece. Originally scored for solo flute, 2 horns, percussion, and strings, the piano reduction of this acclaimed, haunting work has been made available for the first time through this new edition.
Commissioned by flutist John Solum and written in 1967, Aulos was premiered in 1971 by the Indiana University Chamber Orchestra, with John Solum acting as the soloist and Wolfgang Vaccano conducting. The work derives its name from the eponymous ancient Greek instrument, which was double-reeded and contained a two-piece pipe and finger holes. One piece contained a bag that allowed for a continuous sound, making it more akin to bagpipes than to the modern-day flute, while the other piece acted independently of the first. In Kay’s work, the texture of the supporting instruments act as the supporting, yet highly reactive drone, while the flute acts as the melodic piece. Originally scored for solo flute, 2 horns, percussion, and strings, the piano reduction of this acclaimed, haunting work has been made available for the first time through this new edition.
Commissioned by flutist John Solum and written in 1967, Aulos was premiered in 1971 by the Indiana University Chamber Orchestra, with John Solum acting as the soloist and Wolfgang Vaccano conducting. The work derives its name from the eponymous ancient Greek instrument, which was double-reeded and contained a two-piece pipe and finger holes. One piece contained a bag that allowed for a continuous sound, making it more akin to bagpipes than to the modern-day flute, while the other piece acted independently of the first. In Kay’s work, the texture of the supporting instruments act as the supporting, yet highly reactive drone, while the flute acts as the melodic piece. Originally scored for solo flute, 2 horns, percussion, and strings, the piano reduction of this acclaimed, haunting work has been made available for the first time through this new edition.
