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Incitation to Desire (Tango): Mixed Ensemble Book

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Incitation to Desire (Tango): Mixed Ensemble Book

By Chester Biscardi

Item: 98-EP67596A

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Description

Incitation to Desire (Tango), for clarinet, horn (or viola), violin, violoncello, percussion and  piano (1984/1993), was originally written as a solo piano work (Edition Peters No. EP67596b) for Yvar Mikhashoff who first·performed it at the North American New Music Festival in Buffalo on April 14, 1985 and whose recording of it appears on a New Albion release in 1995.  It was originally published by Quadrivium Music Press as part of the International  Tango Collection which included 88 composers as varied as John Cage, Karlheinz Stqckhausen and Virgil Thomson.  The Skaneateles Festival. commisioned this version which was premiered on September 3, 1993 and is dedicated to pianist Robert Weirich and 'cellist Lindsay Groves. It is in one short movement starting with a brief, flashy introduction, then the tango itself entitled "In the style of a tango-canci6n" (originally a vocal form with instrumental accompaniment and strong sentimental character) with  abstracted characteristic habanera rhythmic patterns in 2/ 4 meter and sentimental melody, and then a brief, driving coda.

This chamber version explores the possibilities of the sensuousness of timbre especially in the combination of violin, 'cello, clarinet and horn and the resulting dialogues between them--like the"duets'' between violin and clarinet, horn and 'cello, the interweaving an exchange of "partners," and so on. The percussion and piano give depth to the harmony, heighten the rhythmic drive, and articulate particular colors. The title comes from H. C. Colles' "Tango" entry in the Fifth Volume of the 1944 Third Edition of Grove's Dictionary of Music and Musicians: "The movements of the dance are less presentable to a polite audience than those of the Habanera, and as now performed in the cafes chantants of Madrid and other cities of Spain the Tango has become nothing but an incitation to desire."

Chester Biscardi

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Additional Details
Series: Edition Peters
Publisher: EDITION PETERS
ISBN10: 0-300-74217-7
ISBN13: 979-0-300-74217-5
UPC: 9790300742175
SKU: 98-EP67596A
Instrumentation: Mixed Instruments - Miscellaneous Ensemble

More about this title

About the Composer: Chester Biscardi

Chester Biscardi is an American composer whose work bridges twentieth-century modernist techniques with accessible musical language. His compositions span orchestral, chamber, vocal, and solo repertoire, often exploring timbre and texture as primary compositional materials.

Why we love this

This chamber arrangement transforms a solo piano work into a conversation between instrumental voices, creating genuine ensemble interplay rather than simply adding instruments around a keyboard part. The piece's focus on timbral color and instrumental dialogue makes it rewarding for musicians who thrive on nuanced listening and response, and the tango genre provides immediate stylistic grounding that audiences recognize while the modernist treatment keeps performers engaged intellectually.

What to expect

A tango filtered through modernist sensibility, with the yearning quality of the tango-canción form intact but rendered through unexpected instrumental combinations and harmonic abstraction. Moments of intimate dialogue alternate with fuller, rhythmically propulsive passages, creating a work that feels both nostalgic and utterly contemporary.

Who it's for

Chamber ensembles, university new music groups, and advanced high school ensembles with strong individual players across woodwinds, strings, percussion, and piano. This work suits musicians comfortable with twentieth-century harmonic language and interested in exploring timbre-focused composition.

How to get the most out of it

  • Clarify the habanera rhythmic patterns in rehearsal by isolating the percussion and piano parts first; once the rhythm section establishes the underlying pulse and harmonic depth, the melodic instruments will lock in more naturally.
  • Balance the sensuousness of the string and wind combination by letting each solo voice emerge clearly during the duet sections (violin with clarinet, horn with cello) rather than blending them into a uniform ensemble sound.
  • Shape the opening flashy introduction with precision and snap to establish the tango's energy before easing into the more lyrical main theme.
  • Use the brief, driving coda to build momentum toward the finish; resist the urge to slow down, and let the rhythmic drive accelerate the final moments.

How to use it

Pair this with other chamber works exploring timbre and texture to create a concert focused on twentieth-century instrumental color. Its single, compact movement makes it an excellent contrast to larger-scale works, and the tango idiom provides sufficient accessibility to appeal to audiences less familiar with modernist chamber music.

Skills your students will build

  • Balancing independent melodic lines within an ensemble texture
  • Performing habanera rhythmic patterns accurately in 2/4 meter
  • Responding to timbal and textural shifts across diverse instrumental combinations
  • Executing precise rhythmic coordination in modernist harmonic contexts
  • Shaping lyrical material in dialogue with other instruments

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