Output details

After Scarlatti (harpsichord and computer generated tape)

This work sets out to explore aspects of the contemporary creative potential of the harpsichord in a context where its traditional connotations are kept very much to the fore, but re-presented and re-examined through the use of computer technology. The notated material consists almost entirely of references to four Sonatas by Domenico Scarlatti, in various states of transformation. The original works’ structural and harmonic quirkiness are referenced throughout, as are their typical virtuosity.

The great majority of the electronic sound was synthesised in Modalys, building on Watkins’ previous work at IRCAM as a compositeur en recherche engaged with the team developing the software. This synthetic sound is generated through models of plates and strings (and hybrids between them), themselves based on analyses (models of resonance) of samples of single notes on Jane Chapman’s harpsichord (the instrument used in most of the live performances) thus maximising the timbral connection between acoustic and synthetic sounds. There are also occasional instances in the electronic material of manipulated recordings of Jane Chapman’s performance of brief elements of the piece.

In performance the discrete audio files are triggered either by the harpsichordist (via a footpedal) or an assistant, in order to maximise the temporal flexibility and expressivity of the soloist’s performance. The harpsichord is amplified and mixed with the electronic sound in order to maximise the integration between the two sound sources.

After Scarlatti was commissioned by Sounds New, and composed for Jane Chapman. It was first performed by Jane Chapman (harpsichord) and Roderick Watkins (sound projection) in Sounds New festival, Canterbury 29/04/2009. Subsequent performances by Jane Chapman include PALATINE, Surrey University (November 2009), King’s Place, London (February 2010); Kettle’s Yard, Cambridge (May 2010) and Handel House, London (November 2010).