Symphonies of Time and Tide
- Submitting institution
-
Edge Hill University
- Unit of assessment
- 34 - Communication, Cultural and Media Studies, Library and Information Management
- Output identifier
- 21244001
- Type
- J - Composition
- Month
- January
- Year
- 2018
- URL
-
-
- Supplementary information
-
-
- Request cross-referral to
- 33 - Music, Drama, Dance, Performing Arts, Film and Screen Studies
- 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
- Symphonies of Time and Tide was commissioned by the Royal Liverpool Philharmonic Orchestra, for my 70th birthday year; the commission also formed a part of orchestra’s marking of the tenth anniversary of the award of European Capital City of Culture in 2008. It was first performed by the Royal Liverpool Philharmonic Orchestra, conducted by Vasily Petrenko, in January 2018.
I intended this work to include a significant number of autobiographical references in the form of ciphers, number patterns and self-quotation, yet to try to ensure that this could be achieved satisfactorily within the context of a symphonic work for a mainstream concert audience. This concern formed the basis of the research question. My previous work, Song and Dance (2016) provided a study for the integration of a number pattern based on a date of birth, and these processes were further extended into Symphonies. I undertook further background research into the use of ciphers and quotation by Schumann, Elgar (eg Enigma Variations, Berg (Lyric Suite, Violin Concerto) and Boulez (Répons, Derive 1, Messagesquisse).
Technical issues such as these, plus self-quotation and autobiographical pictorial images aside, an important aspect of the research focussed upon their satisfactory integration within the piece. A long-held concern about the reception of new music has led me to consider different ‘listener states’ – in short, who is the composer speaking to? So, whilst the more complex technical processes described above are to be embedded in the piece, this is achieved within a familiar and recognisable structure (here, a single movement symphonic pattern). This, too, is a characteristic of the Elgar Enigma and Berg Concerto examples cited above. These concerns led me to strive to ensure that the piece would present an engaging surface to the first-time listener, yet hold enough in reserve to warrant further listenings.
- Author contribution statement
- -
- Non-English
- No
- English abstract
- -