jhallmanmusic

Why the piccolo?  How do you find so much potential in the smallest instrument of the orchestra?

The piccolo has great range – it can cut across a symphonic orchestra in the high register and the low register can resemble a simple wooden pipe. I like getting a rich tone from the instrument and frequently play it both expressively and sweetly, which aren’t the sounds one expects from the instrument.

When I was in eighth grade I performed a nineteenth century art song, one of literally a thousand older works written for piccolo solo at the turn-of-the-century. The audience’s response was amazing and from that early experience I decided that I wanted to become a piccoloist. Just being noticed by my teachers was a feat for a shy kid. An English teacher offered to accompany me and my shop teacher’s very fidgety son froze in his seat, dropped his jaw and didn’t move throughout the performance. My family started referring to me as the “pied piper”.

I learned from my teachers that the piccolo had the potential to have a Renaissance as a solo instrument. In college I studied with the great piccoloist John Krell of the Philadelphia Orchestra and later with his predecessor in the orchestra, Kazuo Tokito. The first commissioner of solo works for piccolo, Laurence Trott gave a full week masterclass on his discoveries, the most intriguing of which he had me perform- piccolo with prepared piano and color slides. The heart-wrenching photos of oil covered birds accompanied by the wailing piccolo had audience members crying.

Lois, how did you find Joe’s music?

At first I found the piccolo sonata straightforward to read. Its character is both witty and light. The more I played it the more I discovered within. It contains subtle surprises. Once you think you know where it’s heading the music takes a turn and you’re headed a different direction. I find it simple and complex at the same time.

You have premiered and commissioned tons of works for piccolo… how do you feel this new Sonata will fit in this canon you are creating?

I think it’s a great fit. I have not been disappointed with any of the works. I suppose one could argue that they all fit the genre of “Neo-classic”, but I find that each has a very different feel from the other. Joe’s work is unabashedly major and fun, both for the audience and for me!

Can you describe the process of collaboration?  Did you find working with Joe any different than previous composers?

I’d describe it as two people that don’t know each other focused as one on their artistic creation. I don’t think working with any two composers has been a similar experience. Some are precise with every detail, some are only interested with the overall feel of the piece, some are happy with anything I want to try, some want me to try out different techniques for their effectiveness – most work within the broad area of the middle ground. I found Joe easy to work with. He produces the composition quickly and is not demanding.

Do you think you’ll work with Joe again?  What’s next?  more sonatas, chamber music, concerti??

I like the idea of a chamber work with piccolo and I’m indeed hoping to work with Joe again!

Do you have any concerts coming up (after September 26th’s “Bliss and Friends” concert in Glenside- where LH will premiere the Sonata for Piccolo and Piano):

We have another performance of the sonata coming up at Andrea Clearfield’s Salon on November 30. Email Andrea at aclearfi@aol.com for details.