Although known primarily for her work on the podium, Kim Diehnelt received initial musical training in the US and Finland as clarinetist and composer. 2011 marked a return to this original passion. Her compositions show a refined use of time and gesture, frequently employing counterpoint and modern-modal tonalities within a succinct time frame.
Commissioning a new work
Commissioning allows anyone to participate in bringing beauty and art into our world.
You may want to commission a work in honor of a special person or event, offer it as a gift or tribute, or use it to provide repertoire for outstanding artists or instrument types. I enjoy writing for specific players, to get to know their inherent character and persuasions. Ideally, the final work will offer the artist and listener a rich source of inspiration, complexity and depth.
A guideline for commissioning rates is available through NewMusic USA
“Austere counterpoint of quiet, timeless reflection punctuated by pauses of full, warm harmony. A captured moment - it lingers in the morning air.”
“Opening in a contemplative moment of low, velvet tones - an alternate scenario of amusement intervenes, expands to fullness - and then vanishes. The scene-en-scene dissolves leaving the original moment uninterrupted.”
N.B.: Employ vibrato with conscious intent. All note durations are approximate and pitches are relative.
Seating preference, left to right as seen by audience: clarinetist, flutist, oboist.
“Bold, heroic. An ageless temperament bound by a history foretold.”
N.B. Seating preference, as seen by conductor: Violins on the left side, with the Violin 2 section seated behind the Violin 1 section. Basses on right, behind cello and viola sections.
Premiere by Violist Michael Hall with the Northwest Symphony Orchestra. March 23, 2014 Arlington Hts, IL and Orchestra Hall (Chicago) April 1, 2014
Dedication: Tom and Joan Ryan
Duration: 10-12 mins Preview score
Sheet music available at Performers Music
oboe and strings
“The initial distinct voices of oboe and strings gradually draw each other together into a vibrant weaving of flow and repose.”
Caprio was written with the specific artistry of Joni Day in mind. I had the fortune to conduct and coach ensembles where Ms. Day played oboe, English horn, and oboe d’amore. Her sound – the color and poetry - stayed with me. Caprio presents the oboist in this realm of lyrical art.