Self-Perpetuum. [And other human afflictions] Ian Percy. For wind ensemble, string quartet and piano

Transcription

1 Sel-Peretuum [Ad other huma alictios] For wid esemle, strig quartet ad iao Ia Percy

2 Sel-Peretuum [Ad other huma alictios] For wid esemle, strig quartet ad iao Ia Percy 01/1

3 Sel-Peretuum [Ad other huma alictios] For wid esemle, strig quartet ad iao Flute Ooe Bь Clariet Bassoo Hor (i F) Teor Tromoe Piao Strig Quartet Score i C Duratio: ca Ia Percy 01/1

4 Sel-Peretuum [Ad other huma alictios] This is a sigle-movemet work, comosed over a stutterig eriod o moths, that assed through a variety o shaes ad idetities eore settlig ito this cocise orm or small chamer esemle: lute, ooe, B clariet, assoo, hor, tromoe, iao ad strig quartet The iitial structural idea emerged rom revious comositioal research usig the Fioacci sequece ad Golde ratio to shae acig, orm ad roortio I this iece, idividual strads o material are itroduced withi a rogressive-cycle-orm, workig towards a logical coclusio i a crescedo o texture, desity ad itesity This crescedo haes oe third o the way through the movemet, ad, rom this oit o, the material dissolves vertically (ad dyamically) across the timres o the esemle The irst third o the iece highlights idividual istrumets ad heterogeeous timres, through reeatig exteded liear musical uits o melody ad couter-melody, set agaist a ulse i trio to create a collective 1-toe laguage The latter arts o the score exlore the vertical (harmoic) roerties ad shared (homogeeous) soorities o the esemle, withi a toal (modal) laguage redomiatly eaturig shorter musical uits o hrase ad moti Dritig etwee G ad atural withi a static, 8-toe, toal laguage creates alse modulatios etwee D ad A Maor (B ad F mior), lurs the toal cetre ad accetuates assig modal gestures The lute itroduces a ie-ote uordered row i a oeig, which rovides the rimary strad o itch material: C D E E F G A A B The divisio o this row withi the comositioal rocess suggests a exteded ear-toality, remiiscet o the work o Lutosławski i Łańcuch III (Chai III) or orchestra (1986) The lute rimarily lays the otes o a D Maor scale, ut the ocus o itch-cotour revolves aroud C (C Locria mode): C-D-E-F-G-A-B-C Writte rom B, the comlete row looks similar to B mior: B-C-D-E-(E)-F-G-A-(A)-B I we igore the E atural, we read a traditioal B mior scale with the otio o switchig etwee Aeolia ad Harmoic modes The tritoe is reset whichever way we read the sequece The F was groued with the otes A ad E, to suggest a F Maor 7 th chord (o th ) This three-ote suset ormed a relatioshi with similar susets rom the ollowig rows to ecome the ocus o vertical harmoy later i the iece The clariet eters the d cycle with a couter-melody ad a alterate ie-ote uordered row This row (D Maor/domiat mior/doria lavour) cotais the comlemet or ALL itch-rows i the iece C C# D E F F# G A B The clariet exists withi its ow musical lai or the duratio o the cyclic reetitios, ut the otes G-B-D comlete the total chromatic whe added to the lute row ad, through eig distictive to the clariet, itroduce a way to reerece quasi-toality ad seudo-uctioal harmoy (G-B-D rom this row came to e associated with F-A-E rom the lute row ad E-A-B rom the ooe row) A gestural izzicato rom violocello eters i the third cycle whilst the assoo ad iao rovide a coordiated ulse The cello stregthes the coordiated ulse i the ourth cycle, where the izzicato gestures are assed to the viola ad a urther liear strad o couter-melody is added to the cotrautal texture, irst i harmoised duet o ooe ad violi ( th cycle) ad the y the ooe aloe ( th cycle) The etire esemle is ially egaged durig the ith cycle, ad, whilst the tromoe ad hor exchage short statemet ad resose hrases, the sixth cycle culmiates i a crescedo o cacohoous olyhoic heterohoy ad comosite timres The ooe eters the ourth cycle with a secod couter-melody: C D E F G G A A B The ooe row, read rom B is actually a covetioal mior scale, as the additioal (seemigly atoal) otes G ad A allow the choice o usig aeolia, melodic, azz-melodic ad harmoic orms o mior scale The various rows ad liear strads comie to itroduce shared, or, commo material that ecomes the rimary ocus o the esemle writig These shared itches ad susets strogly iluece harmoic structure as the movemet evolves, ad so, (through a rocess o atural selectio) the harmoy ad chord voicig is evetually domiated y whole-toe, mior third ad (esecially) erect-ourth itervals (,, ) Further reerece is made to the Fioacci sequece i some o the exteded chord selligs:,,, 8 (C, D, F, B, G):,,, 8, 1 (C, D, F, B, G, D):,,, 8, 1, 1 (C, D, F, B, G, D, A) I coclusio, this music is a eergetic exloratio o the oeig material, withi virtuosic, ut legile rhythms, workig through a iitial rogressive-cycle-orm (the cocetio o which evolved urther through reerece to Lutosławski s chai-orms), eore morhig out o cacohoous crescedo ito sychroised olyhoic rhythms, sycoatio, caoic gestures, lyrical iterludes ad a collective soudworld o timre, harmoy, modality ad toality The quasi-toal aroach to 8, 9 ad 1-toe itch orgaisatio eatured i this work roduces a soudworld comarative to that exlored through the exteded itch-laguage o Deussy, Schoeerg, Ravel, Bartók, Stravisky ad Colad (amogst may others) durig the early art o the C0 th, ut the character (ad comositio) o the music is a ovious roduct o the C1 st

5 Liear Row Pitch-Matrices I the iterest o reroducile rocess, matrices or each o the ive liear strads o itch-material (rows) are listed elow: Flute (Primary) Matrix: To comlete the total chromatic with P0: G-B-D (7-11-) (0--7) [Forte -11B, Maor Chord]: Comlemet itches ca e oud i the clariet row I0 I1 I I I I6 I8 I9 I10 P0 C D E E F G A A B R0 P11 B C D E E F G A A R11 P9 A B C D D E F G G R9 P8 A A B C D D E F G R8 P7 G A B B C D E E F R7 P6 G G A B B C D E E R6 P E F G A A B C D D R P E E G G A A B C D R P D E F G G A B B C R RI0 RI1 RI RI RI RI6 RI8 RI9 RI10 I0 I1 I I I I6 I8 I9 I10 P R0 P R11 P R9 P R8 P R7 P R6 P R P R P R RI0 RI1 RI RI RI RI6 RI8 RI9 RI10 Clariet (Comlemet) Matrix: To comlete the total chromatic with P0: A-B-E (9-10-) (0--7) [Forte -9 mirror-set, Quartal Trichord]: Comlemet itches ca e oud i ALL other itch-rows I0 I1 I I I I6 I7 I9 I11 P0 C C# D E F F# G A B R0 P11 B C C# E E F F# A B R11 P10 B B C D E E F G A R10 P8 A A B C C# D E F G R8 P7 G A A B C C# D E F# R7 P6 F# G A B B C C# E F R6 P F F# G A B B C D E R P E E F G A A B C D R P1 C# D E F F# G A B C R1 RI0 RI1 RI RI RI RI6 RI7 RI9 RI11 I0 I11 I I I I6 I7 I9 I11 P R0 P R11 P R10 P R8 P R7 P R6 P R P R P R1 RI0 RI1 RI RI RI RI6 RI7 RI9 RI11 Ooe Matrix: To comlete the total chromatic with P0: D-E-B (--11) (0--9): Comlemet itches ca e oud i the clariet row I0 I1 I I I6 I7 I8 I9 I10 P0 C D E F G G A A B R0 P11 B C D E F G G A A R11 P9 A B C D E E F G G R9 P7 G A B C D D E E F R7 P6 G G A B C D D E E R6 P F G A B B C D D E R P E F G A B B C D D R P E E G A A B B C D R P D E F G A A B B C R RI0 RI1 RI RI RI6 RI7 RI8 RI8 RI10 I0 I1 I I I6 I7 I8 I9 I10 P R0 P R11 P R9 P R7 P R6 P R P R P R P R RI0 RI1 RI RI RI6 RI7 RI8 RI8 RI10

6 Bassoo, Piao ad Cello (Coordiated Pulse) Matrix: To comlete the total chromatic with P0: E-A-B (-9-11) (0--7): Comlemet itches ca e oud i the clariet row Note: G-C#-D ca oly e oud i the right-had iao chords, G-D oly aear i the ith cycle These itches ca e oud i the clariet row I0 I1 I I I I6 I7 I8 I10 P0 C D D E F G G A B R0 P11 B C D D E F G G A R11 P10 B B C D E E F G A R10 P9 A B B C D E E F G R9 P7 G A A B C D D E F R7 P6 G G A A B C D D E R6 P F G G A B B C D E R P E F G G A B B C D R P D E E F G A A B C R RI0 RI1 RI RI RI RI6 RI7 RI8 RI10 I0 I1 I I I I6 I7 I8 I10 P R0 P R11 P R10 P R9 P R7 P R6 P R P R P R RI0 RI1 RI RI RI RI6 RI7 RI8 RI10 Coordiated Pulse Matrix: To comlete the total chromatic with P0: C#-D-E-G-A-B ( ) ( ): Comlemet itches ca e oud i the clariet row I0 I I I6 I8 I10 P0 C E F G A B R0 P9 A C D E F G R9 P7 G B C D E F R7 P6 F# A B C D E R6 P E G A B C D R P D F G A B C R RI0 RI RI RI6 RI8 RI10 I0 I I I6 I8 I10 P R0 P R9 P R7 P R6 P R P R RI0 RI RI RI6 RI8 RI10 Tromoe ad Hor Matrix: To comlete the total chromatic with P0: D-E-F#-A-B ( ) ( ) [Forte - lack key Quartal Petamirror]: Comlemet itches ca e oud i the clariet row Tromoe ad hor share a E Maor/C mior scale as a 7-ote uordered row, ut ted to avour A, thereore layig A Lydia This row/scale is cotaied withi the ooe ad coordiated ulse itch-rows I0 I1 I I I7 I8 I10 P0 C D E F G A B R0 P11 B C D E F# G A R11 P9 A B C D E F G R9 P7 G A B C D E F R7 P F G A B C D E R P E F G A B C D R P D E F G A B C R RI0 RI1 RI RI RI7 RI8 RI10 I0 I1 I I I7 I8 I10 P R0 P R11 P R9 P R7 P R P R P R RI0 RI1 RI RI RI7 RI8 RI10 Note: The idividual rows are iitially uxtaosed horizotally (stacked aove ad elow each other) i liear strads, ut start to iteract ad overla vertically, ormig harmoy (liks ad chais) across the esemle Shared itches etwee the itch-rows ad the highlighted three-ote susets (discussed earlier) served as rimary vehicles or harmoic uctio The strig quartet rovides icreasig vertical (ad timral) staility as the oeig cycles (ad the movemet) rogress

7 Flute Ad so the cycle egis (agai) q = oco accel molto ruato Æ Æ [q = 60] oco accel m m Sel-Peretuum [ad other huma alictios] or wid esemle, strig quartet ad iao A q = Score i C oco accel oco ruato Æ Æ - Ó Æ Æ Æ Æ - [q = 60] oco accel m m q = 60 a temo Ia Percy Ooe B Clariet oco ruato m Ÿ~~~~ < -- 6 ' ' # ' # Bassoo Hor Teor Tromoe Piao Ad so the cycle egis (agai) q = oco accel [q = 60] oco accel A q = oco accel [q = 60] oco accel q = 60 a temo Violi I Violi II Viola B Violocello izz m

8 Fl O Cl Bs H 10 B q = 60 With icreased excitemet ad gatherig mometum oco accel m m q = 60 a temo m coordiated ulse (duo) m Æ Æ C Waves o mometum icreasig i desity Ÿ~~~ < - - ' ' # ' oco accel m m Ÿ~~~~~~~~~~ < Æ Æ Æ m coordiated ulse (trio) m 6 6 ' ' # # ' Æ Æ - Æ Æ Æ m # Æ Æ - Æ Æ Æ - < -- Ÿ~~~ Æ Æ Ó Ó Ó Ó T oco ruato æ Ó Po m coordiated ulse (duo) Ó m coordiated ulse (trio) oco ruato m Ó Ó VlI VlII B q = 60 With icreased excitemet ad gatherig mometum oco accel q = 60 a temo C Waves o mometum icreasig i desity Ÿ~~~~~~~~~~ < Æ Æ Æ m oco ruato Ó Æ oco accel Æ Æ Æ - m Æ Æ Ó Ó Ó m Vla Vc B izz vi molto ruato vi vi vi m m molto ruato coordiated ulse (trio) oco ruato 6 Ó Ó

9 Fl O Cl Bs 19 D q = 60 With icreasig texture ad itesity m oco ruato m m coordiated ulse (trio) m Æ Æ Ÿ~~~~~~~~~~~~ < Æ Æ Æ oco accel m q = 60 a temo Ÿ~~~~~~ < - - E A ial cycle: A crescedo o activity ad a cacohoy o excitemet Ÿ~~~~~~~~~~~~~~~ < Æ Æ Æ 6 ' ' # ' # ' Æ Æ - Æ Æ Æ - Æ Æ m m m coordiated ulse (trio) m Æ Æ ' ' # ' # ' Æ Æ - Æ H Ó resose oco ruato ' m resose quartet resose T [itch-ed] æ - æ oco ruato æ Po VlI VlII Vla Vc D q = 60 With icreasig texture ad itesity m coordiated ulse (trio) oco accel q = 60 a temo izz resose oco ruato Æ m coordiated ulse (trio) m m B molto ruato m coordiated ulse (trio) resose resose oco ruato m E A ial cycle: A crescedo o activity ad a cacohoy o excitemet quartet resose oco ruato 6 Æ Æ Æ - m izz m m m m Ÿ~~~~~~~~~~~~~~~ < Æ resose coordiated ulse (trio) Æ quartet resose oco ruato quartet resose

10 Fl O 6 oco accel Æ Æ - Æ F q = 60 A rhythmic dace ad a romise o hoe: Some rolems ust seem to id a atural solutio duo hrase oco ruato Ó Ó m m duo hrase m m m oco ruato 6 Ÿ~~~~~~~~~~~~ < G Sutle chage i mood [quasi-lues] Ó m Ó Cl Ÿ~~~~~~ < - - Ó 6 m m m Ó Bs oco ruato Æ Ó m m Ó Ó H T Po oco ruato Ó 6 oco ruato m duo hrase B Ó Ó Ó duo hrase 6 Ó m m m (quasi-lues) m m m m oco ruato oco ruato VlI VlII Vla Vc B oco accel oco ruato oco ruato F q = 60 A rhythmic dace ad a romise o hoe: Some rolems ust seem to id a atural solutio Ó Ó 6 oco ruato oco ruato Æ m Ó m m Ó Ó m 6 m m m m G Sutle chage i mood [quasi-lues] Ó m Ó m Ó izz m vi

11 Fl H The celeratio cotiues: With dislaced accets ad a relaxed, ut luid ulse molto ruato oco ruato Æ Ó Ó m I A short (ad adig) trasitio m m Ó O trio hrase oco ruato Ó Æ Ó m m oco ruato Cl Bs m trio hrase Ó oco ruato coordiated ulse (duo) Æ Ó ' m m H ' m ' trio hrase oco ruato ' ' m Ó T m ' Ó Ó m oco ruato m B m Po VlI VlII Vla Vc oco ruato molto ruato m (quasi-lues) B molto ruato izz H The celeratio cotiues: With dislaced accets ad a relaxed, ut luid ulse coordiated ulse (duo) m oco ruato m m m m vi vi I A short (ad adig) trasitio vi m Ó Ó Ó Ó Ó Ó oco ruato izz Ó Ó Ó Ó Ó o vi

12 Fl 1 A scatterig o ideas ad a relectio uo recet evets 6 m oco rit Ó Æ [q = 6] K q = 60 a temo oco ruato m O 6 Ó Ó Ó Ó m m Cl m Æ m oco ruato Ó Bs oco ruato Ó Ó Ó H Ó Ó m oco ruato Ó Ó m T oco ruato B Æ Ó Ó Ó Po molto ruato m oco ruato Ó Ó Ó Ó Ó Ó ' VlI VlII Vla Vc oco ruato oco ruato A scatterig o ideas ad a relectio uo recet evets Ó m oco rit m m m oco ruato Ó Æ 6 Ó Æ B Ó m m [q = 6] oco ruato oco ruato m K q = 60 a temo izz m oco ruato m Ó Ó m oco ruato Æ Æ Æ m m izz m

13 L A shared remiiscece asses amogst the last o the gatherig oco rit Fl oco ruato 1 Ó Ó Ó m O Ó Ó Ó Cl m soli (trio) m oco ruato Bs Ó Ó Ó H oco ruato Ó Ó Ó T Po Ó Ó Ó molto ruato m w oco ruato m m Ó L A shared remiiscece asses amogst the last o the gatherig oco rit soli (trio) oco ruato oco ruato VlI Ó Æ Ó Ó VlII Vla Vc Ó B Ó m m soli (trio) m m oco ruato m m m izz m 6 6 Æ oco ruato m m m

14 Fl O Cl [q = 6] M q = 6 With a quiet sese o satisactio oco accel [q = 60] oco rit oco ruato 9 Ó m m m oco ruato m [reathy] [q = 0] Ó lz Ó Bs Ó Ó H Ó T Po Ó Ó molto ruato Ó oco ruato (quasi-lues) Ó molto ruato w VlI VlII Vla [q = 6] M q = 6 With a quiet sese o satisactio oco accel [q = 60] oco rit Ó oco ruato B m m oco ruato m izz m m molto ruato Ó oco ruato izz - - m [q = 0] Vc oco ruato izz izz molto ruato m m

15 Sel-Peretuum [Ad other huma alictios] Score i C Ia Percy 01/1 ercyi@hoeacuk iacarlercy@gmailcom