Becomings (1-VII). Composition for Solo Piano. Commissioned by José Menor, with funds from The Britten-Pears and Hinrichsen Foundations. Premiered at Spectrum, NYC in Sept 2016. Published by Verlag Neue Musik.
- Submitting institution
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Trinity Laban Conservatoire of Music and Dance
- Unit of assessment
- 33 - Music, Drama, Dance, Performing Arts, Film and Screen Studies
- Output identifier
- Hayden3
- Type
- J - Composition
- Month
- September
- Year
- 2016
- URL
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- Supplementary information
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- Request cross-referral to
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- Output has been delayed by COVID-19
- No
- COVID-19 affected output statement
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- Forensic science
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- Criminology
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- Interdisciplinary
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- Number of additional authors
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0
- Research group(s)
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- Proposed double-weighted
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- Reserve for an output with double weighting
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- Additional information
- Becomings is part of a cycle of pieces combining ‘spectralist’ ideas with algorithmic compositional approaches. Important structural aspects of its materials were computer-generated with bespoke digital tools, researched and programmed by the composer using IRCAM’s OpenMusic. As part of a complex formalized pre-compositional stage, pitch fields, permutations of metrical structures and complex rhythmical subdivisions were created and combined algorithmically before further intuitive compositional interventions. Becomings is constructed around repeating harmonic cycles based on OM-interpolated transitions between inharmonic scales, created through ring-modulation and frequency-modulation techniques using the ‘OMTristan’ library (Murail’s objects ported into OM by Rozalie Hirs), and quasi-harmonic spectra based on 12TET approximations of pure frequency ratios associated with ‘natural’ overtones. The piece oscillates between dense, polyphonic virtuosic linear gestural materials and moments of relative clarity, featuring more vertically conceived harmonies, but never settling one way or the other. The sonic surfaces constantly ebb and flow, coalesce and decompose in a constant state of flux, existing on an unstable continuum between inharmonic scales and quasi-harmonic pitch fields. Textural variety is achieved through compressing or expanding the harmonic cycles within extended or short durations, resulting in slow transitions or brief energetic bursts. Both hands are in perpetual polyphonic dialogue, asserting their individuality and collective inseparability in a tension that is unresolved. The title refers to the philosophical idea of ‘Becoming’, dating back to Heraclitus’, of a world in constant change, as opposed to the idea of Being as an eternal, perfect and unchanging essence. The title is plural because each movement represents a different attempt at musical becoming. There are no pre-existing musical objects (or ‘beings’) as such: only musical ’becomings’ where transformation itself is the basis of the music. Maximum surface diversity and proliferation of materials are achieved, pushing virtuosity to its limits, whilst maintaining an underlying formal coherence.
http://samhaydencomposer.com/compositions/archive/becomings-i-vii
- Author contribution statement
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- Non-English
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- English abstract
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