Interplay: Classical with Electronics

Georgimorphosis is an attempt to sonically mimic the effects of Escher's transformation prints. In pieces like Metamorphosis 1, Sky and Water and Verbum (Earth, Sky and Water), visual objects tessellate and seamlessly transform into others: fish into birds, birds into squares, people into houses. After composers like Adès, Kurtag and Finissy, who have notably used found objects 'quotations' in their own ways, I asked myself, would it be possible to use the methods of Reich and Donatoni to transform quotes by different composer Georges into each other?

Why Georges? Well the piece started life as a baroque flute piece written for Rosie Bowker but it kept getting out of control! When the piece was still for baroque flute, I looked closely at the Telemann Fantasias. Telemann's first name is Georg (Georg Philipp to be precise), and so materials transform banally between Telemann to Ligeti to Enescu to Haas to Benjamin to Gershwin to Handel (although not directly in that order). The point, if there is any, is whimsy.

It may also be evident that a couple of non-George-ian figures sit at the heart of this piece as well. The recurring harmonics trills and multiphonics refer to the sounds found in Sciarrino's Let me die before I wake (1982) and clearly I've learned from his Anamorfosi (1980). I felt the influence too of Robin Holloway, a mentor of mine who I am hugely grateful too, who's Gilded Goldbergs (1992 - 7) and Silvered Schubert (2013) do much more than I ever could. Thank you Robin, without your tutelage I would not compose now.

Thanks so much to Raymond Brien, the clarinettist in this recording! Raymond's put so much effort into this recording. He is gifted beyond words in musicality, technique, imagination and kindness! Sitting in his flat with a cup of tea working on these agonisingly small details must have been very tiresome for Ray, but for me the time was always incredibly heartening. Here's a link to Ray's soundcloud, he’s a composer too:

https://soundcloud.com/raymond-brien?utm_source=clipboard&utm_medium=text&utm_campaign=social_sharing

Thanks also to Professor Julian Anderson CBE and Malcolm Singer for your encouragement and advice, without which I'm not sure I'd ever have conceived of trying to do anything like this before.

The quotations:
Ligeti - 6 Bagatelles (1953)
Ligeti - Violin Concerto (1990, rev. 1992)
Benjamin - Into the Little Hill (1996)
Enescu - Symphony 5 (1941 - 46)
Haas - Finale (2004)
Telemann - Fantasia 2, 3 and 5  (1725 - 1733)
Handel - Messiah (1741)
Gershwin - Rhapsodie in Blue (1924)
Handel - Fireworks Music (1749)

Georgimorphosis - for solo Clarinet

Anna Clyne - Rapture, for amplified clarinet and tape - Ithaca, NY

Kimmo Pohjonen and sampling master Samuli Kosminen joined forces with Kronos Quartet on the project Uniko featuring music composed by the duo. Kosminen samples Pohjonen’s accordion and Kronos’ strings and reproduces them into the mix via his electronic drum pads and devices.

Uniko  II. Plasma

Pierre Boulez - Répons

Harvey: Tombeau de Messiaen

Mortuos Plango, Vivos Voco

Rapture

Blue Moth - Rapture (clarinet and tape)

Blue Moth - 1987 (b.flute, b.clarinet, violin, cello and tape)

For Clarinet, Oboe, Bassoon and Electronics (either fixed media or live).

Recorded live at Mostly Modern Festival, NY, USA, 2019

Clarinet - Raymond Brien
Oboe - Tyler Kuehn
Bassoon - Alex Johnson
Electronics - Ben West

Mostly Modern Festival 2019: Chamber Concert 1 - June 13, 2019

Phantom Splinter - Dai Fujikura

Carolina Performing Arts is proud to have the Silk Road Ensemble as part of The Rite of Spring at 100 celebration.

Silk Road Ensemble - Sulvasutra - Ka

Kaija Saariaho
"Vent nocturne" pour alto et électronique 
interprété par Odile Auboin (photo)
20.04.2013, Cité de la musique 

Phantom Splinter - Dai Fujikura

Raymond Brien

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