anthony st. pierre's compositions
| Biography |
| BLACK |
| Compositions |
| BLACK |
| Fugue |
| BLACK |
| Piano Tuning |
| BLACK |
| Studio |
Anthony St. Pierre, M. Mus. (b. 1956, Schenectady, NY) earned a B.Mus. in composition from the Ohio State University and a M.Mus. from Washington University in historical performance practices. In 1980, he came to Toronto to play oboe with the Tafelmusik Baroque Orchestra. He has composed for organ, piano, voice, chamber winds, percussion and band, as well as electronic media.
Visitors to this website may download scores of a few of his numerous recorder compositions and will require the free Adobe Acrobat Reader to download the files.
Visitors may also hear a performance of one of several of St. Pierre's recorder settings of La Folia on the La Folia website. Please visit the site again. From time to time, new compositions will appear on it.
Unaccompanied recorderThe Lydian Impromptu II for alto recorder consists of five phrases, variously transposed, in the Lydian mode. Each phrase is rhythmically symmetrical. Note, however, that the third and fourth phrases are dovetailed (b.23).
Level: intermediate
The Phrygian Impromptu for soprano recorder features eight iterations of a two-bar symmetrical pattern, plus a coda. The pattern consists of a duple division of the first beat of the bar of three, a triple division of the second beat, and a quadruple of the third, followed by the mirror image of this scheme in the complementary bar. The first phrase is on a tonic of e. Each subsequent phrase is a perfect fifth beyond the preceding. After four phrases, the series of transpositions reverses itself. The last phrase is a repetition of the first. Thus the impromptu has both a rhythmic and tonal symmetry.
Level: intermediate
Recorder DuetsMere Bagatelle II (SA) is one of a series of brief scherzzi for diverse recorder duo and trio combinations. Economical use of motifs characterizes each of these pieces.
Level: intermediate
Canon@Nona (ST) is in ternary form (ABA) and as the title reveals, is a canon at the interval of a 9th. In the A sections, each bar consists exclusively of perfect fourths while, until the coda (bb.53-4), the interval of a second articulates the bars, i.e. the last note of one bar forms a second with the first note of the next bar. In the middle section, the metre switches from triple to duple and the intervals within the bars are now seconds while those between the bars are fourths. The linear offset in the initial A section is two bars. It changes to a displacement of one bar in the B section and continues in this manner, forming, as it were, a stretto in the reprise of the A section. The phrases are four bars long and are constructed such that contrary motion and/or contrasting rhythms prevail throughout.
Level: intermediate
Quartal Gigue is one of a series of dances for soprano and alto recorder in which the interval of a perfect fourth is a dominant melodic characteristic.
Level: intermediate
Recorder TriosThe Pentatonic Fughetta (SSA) employs the pentatonic scale in several transpositions and features a variety of fugal techniques, including inversion, augmentation, and stretto.
Level: intermediate
Fantasy on Frère Jacques, for soprano, alto, and tenor recorders, features the usual canonic treatment of this familiar tune; however, in diverse combinations, the tune is presented in various modal scales (Dorian, Phrygian, etc.).
Level: intermediate
Recorder QuartetsVariation on Handel's 'Pifa' (Pastoral Symphony from Messiah) is for two soprano and two tenor recorders. The piece may also be played to good effect with an organ flute stop substituting for the tenor recorders.
Level: intermediateVariation on Handel's 'Pifa'.pdf
Anthony St. Pierre
Toronto, Ontario
CANADA