Flute, Oboe (muta in English Horn), Clarinet, Horn and Bassoon.
2021
Approximate duration: 9' 30''.

Wind Quintet no. 10

Alto Flute, English Horn, Clarinet in A, Horn in F and Bassoon.
2023.
Approximate duration (minimum):  12 '55 ".

I have an original version that is atonal in three movements. This applies to the usual format, ie 
where each instrument has a specific part in the score. And the instruments I have chosen are Alto Flute, English Horn, Clarinet, Horn 
and Bassoon.
 When this original version is played, five special parts are distributed In the ensemble. They are identical to the original, but not 
bound to any instrument. The music then stands as it sounds if it is played by, for example, Oboe, Violin or Piano, but is completely 
without clefs and the musicians instead enter their own clef. For the Alto Flute, the English Horn and the Clarinet, there will of course 
be a G clef. For the Horn, there will be G clef and F clef and the Bassoon will play in F clef and tenor clef. In situations where the 
music goes beyond the range of the instruments, appropriate sections can be performed one octave higher or lower so that it becomes 
technical playable. With five independent (ie not bound to any specific instrument) parts, the ensemble receives no less than one hundred 
and twenty possible versions of the repertoire - this including the original version.
 I have strictly followed this principle, and in addition to an interesting sound fabric, two more intricate details arise. One of them is 
a single harmonic paradox where a musician gets the notes E and F flat in sequence. This is the same tone and it then becomes a question 
of how this should be interpreted and played. The paradox comes from the original part for Bassoon where the tones G and A flat are 
fully understandable when played in the F clef. But if you now replace the F clef with a G clef, an interesting question mark arises, that 
the musicians have to contemplate. The second detail is the cues that are in the parts. They too sound in C, which causes challenges. 
Where the clarinetist expects a cue, it comes - of course - but it is not the right tones in a clarinetist perspective. The context and the 
sequence of notes will decide instead, and you have to be a little more alert than with normal music reading.
Through the choice of instruments, everyone except the Bassoon will be transposed. The Horn would preferably be an Alto Horn, but it 
is not a common instrument and I have therefore given up on that solution. It was instead the short instruction "Horn in E flat" which 
places the part in the same pitch as the Alto Horn.
 Suddenly, with this, there arise completely new timbres and sound images full of surprises. The listener will recognize melodies and 
passages from the original, but in the special versions they sound completely different from each other. What were originally harmonies 
instead become dissonances and vice versa. And for each new version, the music changes. Everything is there, but the displacements 
provide new perspectives and exciting angles for the ear.
 In the original, I have given expression markings, slurs, ties and nuances. The expression markings also remain in the special versions. 
Slurs, ties and nuances also remain, but I leave these to the ensemble to decide over, remove, leave or change in other ways. So, there 
are endless possibilities to influence and interpret the music.
This is how the instruments are transposed:
Alto Flute: Sounds a fourth lower than noted.
English Horn: Sounds a fifth lower than noted.
Clarinet in A: Sounds a minor third lower than noted.
Horn: Sounds a major sixth lower than noted with the instruction to play in E flat).
Bassoon: Does not transpose. Here, however, a lot happens if the Bassoon is assigned part two (former English Horn). The bassoonist 
then puts one of his or her clefs in the system and then some rather interesting and dramatic effects arise.

Transposing Wind - Contemporary and Prospective Music for Wind Quintet

Selected - Music on a new level.
Find us on YouTube:   
youtube.com/selectedbase
Follow us on Facebook:
https://www.facebook.com/selectedbase

Buy or stream "Separated" here:
http://tbm138.lnk.to/SeparatedSO

ᗍ Follow Cloonee: 
https://soundcloud.com/cloonee
https://www.facebook.com/clooneeuk

Picture by Cary Fagan:
http://cary-fagan.com/

Buy or Stream here

Cloonee - Separated

Bagattele 1 (ligeti)Morsed-Apu-Fany-Bhus-Pinhu- wind quintet

An improvisation with an algorithmically distorted version of myself.

Parity Mirror (2016-05-24)

Wind Quintet; Flute, Oboe, Clarinet, Horn and Bassoon.
2018
Approximate duration: 7' 00''

Wind Quintet No. 5 - Five Harlequins and their audience

Trumpet, Horn and Trombone.
2019.
Approximate duration: 12' 20''.

The color of Brass

String Quartet: 1., 2. Violin, Viola and Violoncello.
2020.
Approximate duration: 13' 10''.

String Quartet no. 2

Anders Hillborg was born in Stockholm in 1954. He gained his first musical experience singing in choirs and was also involved in various forms of improvised music. From 1976 to 1982 he studied counterpoint, composition and electronic music at the Royal College of Music in Stockholm, where his teachers included Gunnar Bucht, Lars-Erik Rosell, Arne Mellnäs and Pär Lindgren. Brian Ferneyhough, who was a guest lecturer at the College of Music on several occasions, was another important source of inspiration. Apart from occasional teaching positions, Hillborg has been a full-time freelance composer since 1982.  His sphere of activity is extensive, covering orchestral, choral and chamber music as well as film scores and pop music

Nominee 2012 - Anders Hillborg - Eleven Gates

I have studied composition for Gunnar Bucht and Olof Lindgren. I write in classical and modern form for everything from smaller ensembles to symphony orchestra.
Home Page: www.janvonmatern.com

Transposing Wind - Contemporary and Prospective Music for Wind Quintet

Jan von Matérn

Related tracks