attente. Composition for Solo Flute. Premiered in Oct 2019 at
Recital Hall, Conrad Parents Music Center, UC San Diego. Published by Verlag. Neue Musik
- Submitting institution
-
Trinity Laban Conservatoire of Music and Dance
- Unit of assessment
- 33 - Music, Drama, Dance, Performing Arts, Film and Screen Studies
- Output identifier
- Hayden4
- Type
- J - Composition
- Month
- September
- Year
- 2019
- URL
-
-
- Supplementary information
-
-
- Request cross-referral to
- -
- Output has been delayed by COVID-19
- No
- COVID-19 affected output statement
- -
- Forensic science
- No
- Criminology
- No
- Interdisciplinary
- No
- Number of additional authors
-
0
- Research group(s)
-
-
- Proposed double-weighted
- No
- Reserve for an output with double weighting
- No
- Additional information
- attente arose from a close collaboration with contemporary flutist Dr Ine Vanoeveren (Royal Conservatoire, Antwerp). Multiphonics are based on examples from Flûtes au présent (Artaud/Geay, Paris: Editions Jobert & Editions musicales transatlantiques (1980)). All fingerings were edited by Vanoeveren, she researched many new, more effective alternatives and adapted their fingering system, working closely with the composer. Vanoeveren also found very effective microtonal tremolos, overtone harmonics, different pizz. and other ‘extended’ techniques, e.g. pitch bends and glissandi (and advised on notations). These solutions had a direct impact on the development of the form which comprises (initially) of juxta-positions of relatively static multiphonic-based textures and rapid linear microtonal materials. As with other recent pieces combining ‘spectralist’ ideas with algorithmic compositional approaches, permutations of underlying pitch and metrical structures and rhythmical subdivisions were computer-generated and combined algorithmically using bespoke digital tools researched and programmed by the composer using IRCAM’s OpenMusic, part of a formalized pre-compositional stage, before further intuitive compositional interventions. The piece is constructed around harmonic cycles based on OM-interpolated transitions between inharmonic scales and quasi-harmonic spectra. The piece oscillates between virtuosic linear gestures and moments of relative clarity and stillness, featuring more sustained ‘spectral’ harmonies. The sonic surfaces constantly ebb and flow, coalesce and decompose in a constant state of flux, existing on an unstable continuum between inharmonic linear gestures and the relative harmonicity of overblown harmonics and multiphonics. The distinction between linear microtonal materials and ‘spectral’ materials becomes increasingly ambiguous as the piece progresses, especially with the proliferation of multiphonic-based textures. Variety is achieved through compressing or expanding the harmonic cycles within extended or short OM-generated duration series, resulting in slow transitions or brief energetic bursts, creating a piece with the maximum surface diversity and proliferation of materials whilst maintaining an underlying formal coherence, pushing virtuosity to its limits. http://samhaydencomposer.com/compositions/archive/attente
- Author contribution statement
- -
- Non-English
- No
- English abstract
- -