See the score at: https://issuu.com/utsyochakraborty/docs/chakraborty_three_instances


Three Instances for Orchestra (2021)
by Utsyo Chakraborty

1. Duos and Trios (0:00)
2. Calls (3:37)
3. Shadows (6:54)

My "Three Instances for Orchestra" were composed rather quickly, between late March and early May of 2021. A suite of three miniature tone poems (one of the reasons I call them "Instances"), it is scored for a relatively small orchestra, having single winds, two horns, trumpet, trombone, 4 percussionists (playing marimba, vibraphone and a variety of unpitched percussion instruments) and a small contingent of strings. 

"Duos and Trios" consists of a single melody fractured into a number of fragments, which are then layered one on top of the other. The texture is characterized by duos and Trios of winds, brass and percussion playing at a time with a halo of string playing. 

"Calls" is a triptych in itself. The first section features some bird like figurations from the individual wind players. The second section has two layers: duos of solo strings with brass and winds along with a steady, yet slightly offset rhythmic pattern played by the percussion. The third section brings back material from the preceding music and ties them together into a short coda. 

"Shadows" is a slow, meditative piece with a focus on textures which can be created by various combinations of instruments in the orchestra. Although one can find many similarities in gesture with the previous movements, there is an individual voice in this piece which makes it serve as an apotheosis to the suite. It looks back reflectively on what has elapsed before. 



Three Instances for Orchestra (2021)

The Beginning

Vladimir Korać
VODA (2022/23)
for accordion and electronics

Performed by:
Luka Lopičić - Accordion
Vladimir Korać - Electronics

Live recording: premiere, 25th October, 2023, Dorćol Platz, Belgrade, Serbia

Music Director (music recording, production and live direction) - Predrag Radisavljević

Assistant Recording Engineers: Marija Radojević, Isidora Nekić and Jovan Matković

VODA (2022/23)

This piece was inspired by a recording I took of a forest in Leitrim. During the recording a Blackbird started singing and I was completely engrossed in the music that I was hearing. After a lot of transcribing I wanted to portray all the different layers of sound in the forest (wind, birds, distant vehicles, etc.), and recreate the experience I had. Performed by the String Quartet from the Ficino Ensemble - Larissa O'Grady (vln I), Danny McCann-Williams (vln II), David Kenny (vla), Ailbhe McDonagh (vc) - in TU Dublin, 8th July 2024.

Lon Dubh, for string quartet (2024)

"Textures Turbulentes, Formes Emergentes (String Quartet N° 4)", was commissioned by the Sonar Quartet with funds provided by the Ernst Von Siemens Foundation.  Here is the world premiere performance by the Sonar Quartett played on December 11th, 2016 at the Kunst Akademie in Berlin as part of the quartet's UPTOPIE series of 7 concerts. Live electronics were programmed by Stefan Tiedje with performance by Stefan Tiedje, Daniel Weinstein and Gerard Pape.

"Textures Turbulentes, Formes Emergentes (String Quartet N°4)"

Awakening

A leader of the Irish Volunteers and the most senior of the 77 women who participated in the Rising - the only woman to have had a death sentence passed (though later commuted to imprisonment) - Countess Markievicz vehemently opposed the imposition of Greenwich Mean Time in Ireland, which she regarded as an act of oppression - the “forcing of English time on us”.

In my piece Awakening, I have pictured the track of the sun across the Earth, reaching Dublin 25 minutes and 21 seconds after London, rolling inexorably like the great wave of political change that was sweeping the world a century ago. Transformation is central to the piece. The opening crackling sounds (derived from processed speech fragments and recordings of solar and interstellar radio emissions) relate both literally to light particles - photons - and to the crackle of rebellion - and of gunfire - which grows into the hope of a new dawn; a wave of consciousness segueing into bells and voices greeting the morning. The piece ends with the recollection of one of the women: Countess Markievicz exhorting them to “hold your heads high", while they were being marched to Richmond Barracks.

Awakening is dedicated to all those brave women and men who took part in or were affiliated with the Rising - including my two great-uncles Dominic and William Mulvey, who were among those occupying the GPO. 

Gráinne Mulvey (2016)

Mulvey Awakening

Instrumentation:

3 Flutes, Eb Clarinet, 2 Bb Clarinets, 3 Oboes, 2 doubling Cor Anglais, 2 Trumpets in Bb, Tenor Trombone, Bass Trombone, Piano, Harp, Percussion (1 player)* STRINGS: 7, 5, 5, 6, 2. 

41 players spatially organised as:

Group 1: Clarinet in Eb, Flute 3, Violin, Violoncello, Guitar, Piano and Percussion 
Group 2: Oboe 1, Clarinet 1, Clarinet 2, Violin solo, String Quartet

Group 3: 4 Violin 1, 4 Violin 2, 4 Viola, 4 Violoncello and 2 Double Basses

Group 4: Flute 1, Flute 2  

Group 5: Two Trumpets in Bb, Tenor Trombone, Bass Trombone

Group 6: Oboe 2 doubling Cor Anglais, Oboe 3, Harp

Duration 20’36”

Performers include:
Group 1: Gleb Kanasevich (clarinet in Eb)Christian Smith (percussion) Lisa Cella (flute), Tristan McKay (piano) Jeremy Bass (guitar), Mark Fewer (violin) and James Burch (cello); Group 2 and 6: Zero Theorem string quartet, Players from the Bristol Ensemble including Roger Heaton (clarinets) and Chris Redgate (oboe/cor)Group 3: the Karski Quartet and Viridis Quartets, Group 4: (additional flutes) from Chamber Cartel, Group 5: Meridian Brass, Dirk Amrein (trombones). 

Performance instructions:  
1) This piece is unconducted. 
2) There is no score. All notated material is within each performer’s part. 
3) It is anticipated that the orchestra will be positioned in a conventional manner, but the nature of the music and performance also lends itself to new spatial configurations, should these be appropriate.  
4) All instrumentalists play independently of each other. The composer treats each performer as a uniquely independent voice.  
5) Music is cued only at the start when all stopwatches are synchronised. There are no other points of ‘fixed’ synchronisation between the instrumentalists.  
6) Whilst the relationship of each instrument is somewhat flexibly placed against its neighbour, care has been taken to calculate potential outcomes of coincidence and variability. To this end, it is vital that metronome markings and timecode are adhered to as accurately as possible throughout the performance.    

The Score and Parts: There is no score for this orchestral work. All musical material and instruction are fully notated within each player’s individual parts. Adherence to timecode ensures that the architecture of the piece remains intact, but the on-going interpretation of tempi and timecode creates contextual changes to the alignment of musical detail between all the parts. As such, there is no definitive performance; the music has to be performed or experienced to be ‘known’. 
 
Timecode: Timecode is not used to imply the use of any kind of click-track in performance or to be seen as a straitjacket to flexible performance within the orchestra and timecode framework. However, players are required to use individual mobile phone stopwatches during the performance to help structure timings, prevent long-term tempo-drift and delivery of their material to achieve an outcome that most closely matches the composer's structural intention. Continual reference to the timecode embedded in each part when read in reference to the stopwatch is particularly useful after longer pauses or where tempo has slipped due to playing under or over the metronome markings, enabling the performer to compensate by playing a little faster or slower to 'catch up' or extend or cut short pauses and rests as necessary to remain broadly on track with the timecode throughout the piece. It is important to start and also complete phrases within and as close to timecode parameters as possible. Please adjust your playing speeds continually to align with the timecode.

[...] which constantly generates a pulviscular cloud [...]

Gerard Pape "Le Fleuve Du Désir VI"

Dreamless (2014/15) for chamber ensemble – live performing by Ensemble “Sonorous” – Barcelona / Spain 2015 (unfortunately ensemble no longer exists) 
….When I was in Barcelona/Spain for a short time a met a enthusiastic group of professional street musicians who asked me to write them several arrangements (free of charge) to be played… to show their gratitude afterwards they asked me to write a piece for their performances at contemporary music venues giving me all rights to this piece …unfortunately they no longer exist as an ensemble…. Dear friends hope you are doing well!!!

Dreamless was inspired by the song of Henry Charles Bukowski - Dreamless 
All rights reserved by Predrag Pedja Milojkovic®

Bez snova

Stare sjedokose kelnerice
po kafeima u noći
odustale su,
i dok koračam
niz pločnike svjetlosti
i gledam u prozore
staračkih domova
vidim da toga više nema
u njima.
Gledam ljude po klupama u parku
i vidim po tome kako
sjede i gledaju
da je iščezlo.
Gledam ljude koji voze
i vidim po tome kako
voze svoja kola
da niti vole niti su voljeni
niti više mare za seks
sve je zaboravljeno kao
neki stari film.
Gledam ljude u robnim kućama
i samoposlugama
dok se kreću među rafovima
kupujući stvari
i vidim po tome
kako im stoji odjeća
i po načinu na koji hodaju
i po izrazu njihovih lica
i očiju
da im nije stalo ni do čega
i da ničemu nije stalo
do njih.
Vidim na stotine ljudi dnevno
koji su sasvim odustali.
Ako odem na hipodrom
ili na stadion
vidim hiljade
koji ne osjećaju ništa
ni za koga
i niko ne osjeća za njih.
Na sve strane vidim one koji
ne žude ni za čim osim za
hranom, krovom i
odjećom,
usredsređeni samo na to,
BEZ SNOVA.
Ne shvatam zašto ovi ljudi
ne iščeznu,
ne shvatam zašto ovi ljudi
ne izdahnu,
zašto ih oblaci
ne usmrte,
zašto ih psi
ne usmrte,
zašto ih cvjetovi i djeca
ne usmrte,
ne shvatam.
Biće da su već mrtvi
pa ipak ne mogu da se naviknem
na njihovo postojanje,
jer toliko ih je mnogo.
Svakoga dana,
svake noći,
sve ih je više,
u metrou,
u zgradama,
u parkovima.
Oni ne osjećaju užas
što ne vole
ili što nisu voljeni.
Toliko, toliko, toliko
mojih bližnjih.

Čarls Bukovski