Island Songs


for Clarinet, Cello and Piano


Decoding the composition
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Island Songs originally written for clarinet, violoncello, and piano, consists of three movements inspired by various Greek dance styles and was commissioned by the Kandinsky Ensemble. Rather than aiming to directly represent these dance forms, I intended Island Songs to reflect my personal response to the inherent energy they possess. In 1999, upon the request of the Ogen Trio, I created an alternate arrangement of Island Songs for piano trio (PE075) which was my first ever piano trio. The first movement involves a number of styles and reflects what I perceive as the latent energy in much of this music — although here this energy only surfaces from time to time. The second is a reaction to the great strength of the zeibekiko dance, which is in 9/4 time, and often extremely slow. While not cast in the same time frame as a true zeibekiko, this movement does dwell upon the uncertainty of the downbeat and the intensely focused emotional content of this dance. The third movement is much in the style of the sirto dance, whose energy is always lively and unfailingly contagious.


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Project Details

Island Songs

for Clarinet, Cello and Piano

Commissioner: Ogen Trio

Instrumentation: Clarinet(dblEb), Cello & Piano

Difficulty Level:
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Performance notes

For the pianist and cellist, interchangeability between this edition and the piano trio arrange- ment (PE075) was of prime importance in publishing this work. The piano part is identical in both and differences in the violoncello part are found only in the first movement.


  • The third movement is written for Clarinet in Eb, requiring the player to change instruments at the conclusion of the second movement. An alternate part for Clarinet in Bb is appended to the performance part and may be used if a Clarinet in Eb is unavailable.
  • The bend indication (see movement 3, m.65, clarinet) applies to all subsequent lines until m.69.
  • The clarinet is transposed in the score.


  • Pizzicato notes in the violoncello should be sustained for the length of audible decay where possible.