Output details

'Angel' for Arpeggione and Electronics (8mins)

In recent decades the arpeggione has enjoyed a revival after a more than a century of neglect. In writing for the instrument the questions of why it fell out of favour and whether, given subsequent changes in music technology, it is possible to respond to what might once have been seen as deficiencies, can be considered by the composer. Angel responds to these issues by combining the arpeggione with electronic effects (amplification and reverberation, to counter limitations in tone variety) and sequencing processes (as a means of expanding the textural limits of the solo instrument). The organology of the instrument is embedded in the musical ideas. For instance, the extensive use of harmonics (an evocation of actual but unnamed non-zodiacal star constellations) is mapped onto those capable of natural rather than artificial production and the dyadic content of the music (used, along with lyrical expression, as a representation of one who is bound to terra firma) is rooted in the tuning of the strings (which is like a guitar).

The juxtaposition, and later superposition, of a sound-constellation cantus firmus with a lyrical representation of a mortal life continues a development of my compositional interest in using differences in style and technique as a means of conveying expression. The sequence is systematically derived and developed whereas the lyrical lines, though heavily inflected by the abilities of the arpeggione, are freely expressive. This particular piece uses the difference between juxtaposition and superposition as an organising principle. What starts as a juxtaposition develops through a section dominated by superposition and ends up as a synthesis of fragments, both systematically and freely derived.