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Sonata, the Concert Piece for Bassoon and Piano, and the Trio in Four Movements all are
in accord with the style of earlier pieces in terms of compositional approach (although
arguably they have a more mature style), yet the titles and lengthy program notes which
Larsen previously used to explain or accompany her pieces are conspicuously absent.
Throughout this gradual progression Larsen has never abandoned four main
influences or categories of extramusical material that appear, with just a few exceptions,
in all of her works: the use of nature and the natural world; sounds, both musical
(especially American popular music) and non-musical (e.g., bird calls or water); the
speech patterns of American English; and the lives, writing, or art of influential
Americans (particularly women). This latter category is most often utilized in the
numerous song cycles and choral works that Larsen has penned, but is also relevant in
chamber works such as Black Birds, Red Hills.
In more technical terms, the music in Larsen’s catalogue shares many general
features. The rhythms and melodic lines in both texted and non-texted works are often
derived from the natural phrasing and contour of American English. This puts limits on
the range of melodies and creates irregular rhythmic patterns and often uneven or
asymmetrical phrases. Larsen tends to favor the interval of a third (both major and minor)
in both melodies and harmonies. Additionally, Larsen’s harmonic language is largely
tonal, yet not in a traditional sense. Vertical sonorities often define the harmony, and
chords comprised Oflargely diatonic or modal collections often use extended triads (7ths,
9ths, 1 lths, etc). Larsen’s music frequently employs modality and polytonality, although
not in a deliberate or pre-composed manner.
Structurally, Larsen works with motives, choosing more frequently to repeat rather