Daryl Runswick
Into the Miraculous
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accidental counterpoints texts ❍ |
The three works presented on my new CD date from the decade of my fifties. accidental counterpoints was commissioned in 1995 but wasn’t actually composed until 1998. This was due to my uncertainty about what texts to use: I wanted something thoughtful or philosophical, and first thought of Christina Rossetti (rejected as too christian), then Elizabeth Smart (too gloomy), then Laura Riding, who appears to have left a codicil in her will that none of her poems were ever to be set to music. Exasperated, I decided to write my own. Catherine Pierard, who commissioned accidental counterpoints, didn’t seem to mind waiting three years for her money’s worth. No such dithering took place over Island, the next of these pieces to be written (in 2002). John Rath, my great friend and the work’s dedicatee, suggested the poems of Miriam Scott for the texts and made the selection himself. Where accidental counterpoints reflects on life from a personal point of view, Island grasps the elemental, the fabulous, granite and ocean. John Rath and I gave the first performance in London in June 2002. Flute Sonata (2003) had no commissioner and was written out of necessity (because it had to be) and for fun. It is now dedicated to Wissam Boustany in recognition of the brilliant performance he gave with Douglas Finch, only a week after the world premiere, captured in this recording. Technically all these pieces share a preoccupation of mine at this period with aleatoric techniques. Much of the music is written out in such a way that the rhythms and the counterpoint are variable from performance to performance. This is not just a fad – the elasticity of the notations results in a kind of liquid flow that I could not have achieved with barlines, quavers and crotchets. So the |
term 'accidental counterpoints’ can be applied in a stylistic The occasion for this recording of Flute Sonata was a concert |
accidental counterpoints 1
All these compositions and recordings are covered by copyright. |
Flute Sonata Flute Sonata (2003) is one of my 'dot music' pieces, where the players are provided in the score with note-heads only; no stems appear, neither do any rests or barlines. Apart from the pitches and approximate rhythms, everything has to be improvised: note lengths, dynamics, accents, phrasing, timbre: every other aspect of the piece's realisation. The choices the performers make here will crucially influence how you experience the Sonata, which can and will sound quite different on different occasions. The first thing the listener notices about the Sonata is that it is canonical: the two players play the same material in canon at longer or shorter intervals. Less obvious is that the music is modal (written in modes rather than keys) – this is what gives the Sonata its particular flavour. It is cast in a single movement lasting about 12 minutes. There are six sections, all containing roughly the same music, played faster or slower. The shortest section lasts just 30 seconds, the longest (the final one) almost four minutes. Apart from this compressing and extending, other processes are applied: inversion, retrograde and the varying of the mode. This produces a music whose repetitions tend, not so much toward a traditional sonata-development, more toward variation form.
Island 1 The Making of the Island
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