Post on 28-Apr-2023
Developing Solo and Chamber Repertoire for the E-flatClarinet by Australian Composers
Author
Beere, Justin
Published
2016
Thesis Type
Thesis (Masters)
School
Queensland Conservatorum
DOI
https://doi.org/10.25904/1912/3718
Copyright Statement
The author owns the copyright in this thesis, unless stated otherwise.
Downloaded from
http://hdl.handle.net/10072/365735
Griffith Research Online
https://research-repository.griffith.edu.au
QUEENSLAND CONSERVATORIUM GRIFFITH UNIVERSITY
Developing Solo and Chamber Repertoire for the E-flat Clarinet by Australian Composers
By Justin Beere
Submitted to
the Queensland Conservatorium of Music Griffith University
in partial fulfilment of the requirements
for the degree of
Master of Music (Research).
February 2015
ii
CERTIFICATION
I hereby certify that this research has not been submitted in whole or part by myself or any
other person/s for a qualification or award. I further certify that to the best of my knowledge
and belief, this dissertation contains no material previously published or written by another person except where due reference is made in the dissertation itself.
Signed ...................................
Date …………………………...
iii
ACKNOWLEDGEMENTS
This project owes enormous gratitude to a number of extraordinary people. Firstly I would
like to thank the ever-patient Stephen Emmerson and my highly insightful clarinet teacher
David Thomas. I would also like to express my appreciation to the wonderful composers Paul Kopetz, Paul Dean, Matt Laing, Peter de Jager, and Josten Myburgh who donated their
invaluable time and creativity and the Queensland Clarinet and Saxophone Society for their support of the ComposE Composition Competition for Australian tertiary composition
students. Finally, I would like to thank Mr. Mark Featherby for his charitable legal
consultation and the Australian National Academy of Music for its wonderful facilities, support and its terribly gifted and curious musicians for performing these new works
alongside me.
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ABSTRACT
This research project seeks to actively develop solo and chamber music repertoire for the E-
flat clarinet by Australian composers. To achieve this the researcher instigated the formation of six new works written by notable and lesser-known emerging Australian composers
currently working or studying in Australia. It is the intention that this research will gain greater insight into how selected contemporary Australian composers write for the E-flat clarinet.
Australian composers Paul Dean, Peter de Jager, Paul Kopetz and Matthew Laing all very
generously supported the project by providing new compositions. In addition to this, and in an attempt to generate a greater national awareness, the project created a national
composition competition for emerging tertiary composers, sponsored by the Queensland
Clarinet and Saxophone Society. With the addition of a composition written by the researcher, the initiative culminated in a performance at the Australian National Academy of
Music in Melbourne, Australia on the 31st of November 2014.
The information presented in this research document outlines insights and thoughts acquired from the works created and the researcher’s collaboration with each composer, performance
preparations and personal discoveries, semi-structured interviews, the direction of a national
composition competition and general project co-ordination.
This project is merely a starting point for what the researcher intends to build upon well into the future, providing a healthy resource of music for E-flat clarinet enthusiasts to draw upon
pedagogically and on the concert platform.
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CONTENTS PAGE
Page
Acknowledgements iii Abstract iv
Table of Contents v List of Musical Figures vi
Introduction 1
Literature Review 5
Chapters
I. “Chronicle” I – Josten Myburgh 11
II. Monologue – Matt Laing 18
III. Zombie Meadows – Peter de Jager 27 IV. Under the Cloak of Righteousness – Justin Beere 38
V. No Exit – Paul Dean 48
Conclusion 63
List of References 65
Bibliography 66
Appendices:
Appendix A: Letter to potential participants 67
Appendix B: Ethical clearance approval 68
Appendix C: Informed consent package 69
Appendix D: Composer’s biographies 72
Appendix E: ComposE Composition Competition poster 76
Appendix F: Recital in Es program notes – ANAM, October 31, 2014 77
Appendix G: Bibliography of solo and chamber works by Australian composers 81
Appendix H: Interview transcript – Matthew Laing 87
Appendix I: Interview transcript – Peter de Jager 93
Appendix J: Interview transcript – Paul Dean 99
Appendix K: “Chonicle” I: Josten Myburgh – musical score 103
Appendix L: Monologue: Matthew Laing – musical score 110
Appendix M: Zombie Meadows: Peter de Jager – musical score 113
Appendix N: Under the Cloak of Righteousness: Justin Beere – musical score 128
Appendix O: No Exit: Paul Dean – musical score 145
Appendix P: CD/DVD recordings: Recital in Es – October 31, 2014 246
Appendix Q: CD studio recording: No Exit – Paul Dean – December 11, 2014 247
Appendix R: CD recording: Interviews held with P. Dean, P. de Jager and M. Laing 248
Appendix S: CD recording: First reading session with Matthew Laing 249
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LIST OF FIGURES
Page
Figure 1: Myburgh, “Chronicle” I, opening section 11
Figure 1.1: Myburgh, “Chronicle” I, excerpt from pg. 5 of score 12
Figure 1.2: Myburgh, “Chronicle” I, ending section 12
Figure 1.3: Myburgh, “Chronicle” I, first multiphonic 14
Figure 1.4: Myburgh, “Chronicle” I, final line 14
Figure 1.5: Myburgh, “Chronicle” I, combining techniques 14
Figure 1.6: Myburgh, “Chronicle” I, altissimo ‘A’ 15
Figure 1.7: Myburgh, “Chronicle” I, ‘F#’ to ‘A’ altissimo fingering sequence 15
Figure 2: Laing, Monologue, bars 1 – 3 18
Figure 2.1: Laing, Monologue, bars 4 – 11 18
Figure 2.2: Laing, Monologue, bars 32 – 40 19
Figure 2.3: Laing, Monologue, bars 62 – 65 20
Figure 2.4: Laing, Monologue, bars 88 – 90 20
Figure 2.5: Laing, Monologue, bars 20 – 23 21
Figure 2.6: Laing, Monologue, bars 20 – 23 adjusted 21
Figure 2.6: Laing, Monologue, alternative ‘C#’ fingering diagram 23
Figure 2. 7: Laing, Monologue, fingering sequence for bar 44 24
Figure 2.8: Laing, Monologue, ‘G#’ fingering diagram 24
Figure 2.9: Laing, Monologue, bars 83 – 86 25
Figure 2.10: Laing, Monologue, bar 89, ‘F#’ fingering diagram 25
Figure 3: de Jager, Zombie Meadows, bars 13 – 15 27
Figure 3.1: de Jager, Zombie Meadows, bars 24 – 26 28
Figure 3.2: de Jager, Zombie Meadows, bars 27 – 34 28
Figure 3.3: de Jager, Zombie Meadows, bar 54 29
Figure 3.4: de Jager, Zombie Meadows, bars 64 -67 29
Figure 3.5: de Jager, Zombie Meadows, bars 93 – 95 30
Figure 3.6: de Jager, Zombie Meadows, bars 91 - 102 30
Figure 3.7: de Jager, Zombie Meadows, bars 17 – 20 31
Figure 3.8: de Jager, Zombie Meadows, bars 9 – 11 32
Figure 3.9: de Jager, Zombie Meadows, bar 18, beats 1 – 4. 33
Figure 3.10: de Jager, Zombie Meadows, bar 19, beats 1 – 2. 34
Figure 3.11: de Jager, Zombie Meadows, bar 19, beat 4 and bar 20, beat 1. 34
Figure 3.12: de Jager, Zombie Meadows, bar 25, beats 3 – 4. 35
Figure 3.13: de Jager, Zombie Meadows, bar 26, beats 1 – 3. 35
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Figure 3.14: de Jager, Zombie Meadows, bar 38, beats 3 – 4. 36
Figure 3.15: de Jager, Zombie Meadows, bar 39, beat 1. 36
Figure 4: Beere, Under the Cloak of righteousness, bars 1 – 7 39
Figure 4.1: Beere, Under the Cloak of Righteousness, bars 15 -19 39
Figure 4.2: Beere, Under the Cloak of Righteousness, bars 37 - 41 40
Figure 4.3: Beere, Under the Cloak of Righteousness, bars, 47 – 49 40
Figure 4.4: Beere, Under the Cloak of Righteousness, bars 70 – 78 41
Figure 4.5: Beere, Under the Cloak of Righteousness, bars 113 – 18 41
Figure 4.6: Beere, Under the Cloak of Righteousness, bars 16 - 19 42
Figure 4.7: Beere, Under the Cloak of Righteousness, bars 26 – 31 43
Figure 4.8: Beere, Under the Cloak of Righteousness, bars 93 – 101 44
Figure 4.9: Beere, Under the Cloak of Righteousness, violin cadenza 45
Figure 4.10: Beere, Under the Cloak of Righteousness, bars 47 – 50 44-46
Figure 4.11: Beere, Under the Cloak of Righteousness, bars 50 – 55 46-47
Figure 5: Dean, No Exit, bars 1-5 49
Figure 5.1: Dean, No Exit, bars 22 – 24 50
Figure 5.2: Dean, No Exit, bars 43 -61 51
Figure 5.3: Dean, No Exit, bars 63 – 66 51
Figure 5.4: Dean, No Exit, bars 301 – 306 52
Figure 5.5: Dean, No Exit, bars 307 – 308 52
Figure 5.6: Dean, No Exit, bars 120 -138 54
Figure 5.7: Dean, No Exit, bars 384 - 393 54
Figure 5.8: Dean, No Exit, bars 279 -291 55
Figure 5.9: Dean, No Exit, bars 344 - 375 56
Figure 5.10: Dean, No Exit, bars 93 -98 57
Figure 5.11: Dean, No Exit, alternative altissimo ‘E’ fingering diagram 58
Figure 5.12: Dean, No Exit, bar 318 – 326 58
Figure 5.13: Dean, No Exit, alternative altissimo ‘G#’ fingering diagram 59
Figure 5.14: Dean, No Exit, bars 79 - 81 59-60
Figure 5.15: Dean, No Exit, bars 126 – 128 60
Figure 5.16: Dean, No Exit, bar 84 – 87 60-61
Figure 5.17: Dean, No Exit, bars 292 – 294 61
Figure 5.18: Dean, No Exit, bars 429 – 431 61
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Introduction
My interest in playing the E-flat clarinet has certainly grown steadily since my first encounter performing on it at MOST, the Queensland Department of Education, Training and Employment's
biennial program for musically outstanding students from Queensland state secondary schools.
Now, as a graduate of the Australian National Academy of Music, concluding nine years of tertiary study, I am still enraptured with music and clarinet playing. My experiences with the E-
flat clarinet have become an increasingly important part of my quest to attain the seemingly infinite body of knowledge and skills required to be a well-rounded professional musician. Thus,
this dissertation outlines the premise and subsequent stimuli that instigated this research with a detailed discussion of the project’s methodology and structural design, the selected process of
inquiry and data collection as well as the performed outcomes.
Clarinet students genuinely interested in studying the E-flat clarinet generally begin their
education on the instrument via a limited selection orchestral excerpts or transcriptions. In fact very few undergraduate students are exposed to this level of education for this instrument within
Australian conservatoriums. On the other hand, I came to the instrument by chance, through ensemble and orchestral repertoire and without any formalised E-flat training. Because of this,
my education in this area has been, for the most part, self-driven. With an unusual level of curiosity, I set out to discover solo and chamber repertoire written for E-flat clarinet. After an
extensive search of university libraries, publishing houses, music information centres and music
databases, I was surprised to uncover a fairly substantial amount of serious repertoire written by composers for this instrument from all over the world. It was immediately apparent though; there
was a distinct lack of repertoire by Australian composers.
In order to truly understand an instrument and its capabilities and temperament, it is fundamental that a body of repertoire from composers employing a vast array of musical
languages and stimuli is available and constantly expanded upon. It was clear that further
development was necessary to instigate the formation of new solo and chamber works by Australian composers that featured the E-flat clarinet.
To achieve this, I approached a number of composers over the period of a few months, many of
whom without hesitation offered to write a new work, with only a few who questioned my sanity. I sought to engage a broad range of composers, including those that are well established and
other lesser-known emerging composers currently working or studying in Australia. Contact was initially made via email and subsequently a follow-up meeting, was arranged with those who had
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shown interest to discuss their involvement. An example of this communication can be viewed in
Appendix A: Letter to potential participants.
There were no selection criteria for engaging composers other than the composer having lived, studied or worked in Australia at some stage of their career. Overall, there were eight composers
who were approached in the early stages of this research. Of those, six expressed interest with four that ultimately produced new works. In an attempt not to restrict or inhibit the musical
result, it was decided that each composer be asked to feature the instrument significantly within
his or her composition, regardless of instrumentation or format they chose. These pieces would subsequently provide the infrastructure from which each composer’s characterisation and
treatment of the instrument could be discussed. With approval from the Griffith University Ethics Committee (GU Ref No: QCM/27/13/HREC see Appendix B) participants were provided with
relevant information regarding informed consent, including a general information sheet that participants retain and a written consent form. (See Appendix C: Informed consent package).
Over the period of the year, composers Paul Dean, Matthew Laing, Peter de Jager and Paul Kopetz produced new works for me to perform specifically for this project. Biographies of all of
the composers featured in this research can be found in Appendix D: Composer’s biographies.
During this time I also established a national composition competition for emerging tertiary
composers entitled, “ComposE” (www.composecompetition.com.au), see Appendix E: ComposE Composition Competition poster. Sponsored by the Queensland Clarinet and
Saxophone Society, the competition received five entries from students all around Australia. The
winner, Josten Myburgh, was selected by the panel Paul Dean and Dr. Stephen Emmerson and his piece is also discussed in this document. By May of 2014, five new works that featured the
E-flat clarinet had been created solely for this project.
In addition to this, as an exercise to further inform this research, I also composed a nine-minute
chamber work featuring the E-flat clarinet. Collectively, these works were performed on the 31st of November in a recital at the Australian National Academy of Music (see Appendix F: Recital in
Es program notes and Appendix P: CD/DVD recording: Recital in Es), and act as the foundation
of this research document, which seeks to gain greater insight into how selected contemporary Australian composers write for the E-Flat clarinet.
In designing a framework for this research, it was immediately clear to me that a series of case studies would be the most appropriate method to employ for this type of practice-based
research. Considering the nature of project, which seeks to discuss and understand the
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approach of each individual composer, rather than make comparative judgments, this particular
methodology was most appropriate. The personal and subjective nature of the study requires a
qualitative approach (Stake, 1995). Creswell discusses that a qualitative inquiry invites the
researcher to collect data in a number of ways, not just from controlled environments,
experiments or literature. This procedure involves investigations within a “natural setting”, which
would include experiences, rehearsals, preparations, performances and collaborations with
composers, the “researcher as a key instrument” in interpreting information, the organisation of
“multiple sources of data”, including scores, interviews, observations and documents and a
“holistic account” on multiple perspectives or ideas (Creswell, 2009, p. 175-176). This procedure
of inquiry most effectively aligns with the aims of this research
Hence, each case study aims to incorporate pertinent information retrieved from a detailed
examination of the score with observations predominately focused on the writing for the E-flat
clarinet. Also discussed are preparatory collaborative sessions with the composers, performance
and recording of the work, together with relevant information collected from a brief semi-
structured interview that I undertook with each composer.
Each case study exists as a singular chapter and divisions depend greatly on the size and
theoretical density of information that could be drawn from each work. The criterion employed
for the score examination of each composition aims to discuss each composer’s choice of
instrumentation, features of its thematic and harmonic design, the role of the E-flat clarinet, any
notable playing techniques required as well as any other structural or defining features. It is
important to note that the collection of data from all sources was achieved without any
judgement values. Also, in relation to the ensemble works, each case study focuses directly on
the writing for the E-flat clarinet rather than on other instruments in order to keep within the
defined the scope of the project.
Supplementary information is also extrapolated from brief semi-structured interviews, which
were conducted after the performance. This flexible style of interview was employed given that
its not strictly moderated by a list of questions set in advance and “the order can be modified
based upon the interviewer’s perception of what seems most appropriate” (Robson, 2002, p.
270). The individuality of each composer and composition required questions that would not
necessarily be applicable to another. Questions therefore catered for the individuality of the
compositions in order to capture each composer’s intent and distinctive process. Nonetheless in
preparation for the interviews several general questions that were prepared as a guide and are
listed below. It is important to note that, in accordance with a semi-structured interview, these
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were not asked of each composer in the same form or order.
Base interview questions:
1. What is the piece about?
2. How did it come about?
3. Were there any notable considerations you had in mind when writing for this
instrument?
4. What challenges or issued were faced during the compositional process?
5. After hearing the piece played/performed what was your initial response?
6. Do you believe that this instrument was capable of expressing your ideas/narrative
effectively?
7. Were you convinced by the result?
8. Would you include the instrument in any future writing?
Interwoven throughout each case study are ideas and information accumulated from personal
sessions with the composers, including any developments or alterations that were realised via
suggestions or discoveries made during discussions, personal preparation and the rehearsal
process. In some cases, simply because of proximity of location, the collaborative nature of the
research was more applicable and fruitful with some composers than others. This is reflected in
the different quantity of information provided.
Each case study also includes a “Notes to the performer” section, which contains my findings
relevant to the preparation and performance of each work and any issues that were faced.
Personal discoveries and solutions relevant to fingerings, intonation, dynamics, phrasing and
articulations, extended techniques, reed setup and physical movement are presented for
consideration, but should not be seen as absolute. It is assumed that clarinetists interested in
learning these works are professionals or advanced students and the findings presented are
directed towards players with this level of understanding.
The broad range of composers involved in this project has provided a wide spectrum of musical
styles for E-flat clarinetists to explore. The object of this research is to provide an informative
document on these works, reflecting on the overall processes involved in preparing them for
performance. It is also envisaged that this research may provide a broader awareness of
Australian works written for the E-Flat clarinet, with the intent that some may become a part of
mainstream clarinet repertoire in order to stimulate future composition for this instrument.
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Literature Review The resurgence of academic interest in the E-flat clarinet over the last century, its origin and
subsequent repertoire, has provided a number of resources pertinent to this research. Although
well respected texts by David Pino, “The Clarinet and Clarinet Playing” (1980), Jack Brymer, “Clarinet” (1976) and F. Geoffrey Rendall’s “The Clarinet” (1954) include no more than a brief
mention of the E-Flat clarinet, more in depth research by Tschaikov, entitled, “The High Clarinets,” in Colin Lawson’s “The Cambridge Companion to the Clarinet” (1995) and Eric
Hoeprich’s “The Clarinet” (2008), supply an insightful historical overview of the smaller clarinets and discussion of some of their most significant repertoire.
Nonetheless, literature outlining the repertoire written for the E-flat clarinet or its equivalent ‘D’ clarinet, until recently, predominantly focuses on its presence in clarinet choirs, military and wind
band ensembles and symphonic composition. Moreover, literature that identifies Australian repertoire for this instrument is fairly scarce. Three relatively recent dissertations outline the
extant repertoire from composers around the world. Firstly, Dr. Jacqueline Redshaw’s thesis, which discusses selected “Chamber music for the E-flat clarinet” (2007), focuses on notable
compositions for the instrument involving up to twelve players. . The works discussed are by well-known twentieth century composers, including, Hindemith, Janacek, Webern, Schoenberg
and other lesser-known composers and their chamber works that include the E-flat clarinet. The
document also provides a glimpse of the orchestral repertoire for this instrument including a brief history of the development of the clarinet. There is no mention of music by an Australian
composer however.
A more holistic approach is found in Kathleen Gardiner’s thesis “An annotated bibliography of twentieth-century solo and chamber literature for the E-flat clarinet” (2002), which provides a list
of around 113 works from the twentieth-century solo and chamber music that utilises the E-Flat
clarinet with 29 of them annotated in a bibliographical format. It also entails a history of the instrument with a discussion of some earlier literature and a listing of other solo and repertoire
available from the twentieth-century. Of these dissertations only Gardiner’s mentions any music for the E-Flat clarinet by Australian composers but her awareness of that repertoire is very
limited.
Jonathan Farquhar’s “The history of the E-flat clarinet: with a bibliography of solo and chamber works written for the E-flat clarinet” (2003), is perhaps the most comprehensive resource which
provides a thorough background on the E-flat clarinet and its position within the lineage of the
6
early clarinets pitched in ‘C’ and above. In addition to this, the research also provides and
extensive list of 569 works for the E-flat, including solo and chamber works, concertos, clarinet choirs and various instrumental ensembles, since its conception. Although an admirable
resource, the breadth of its focus does not allow works to be discussed in any detail. In terms of Australian music, Farquhar does indentify the extant of the published repertoire that was
available at that time. However, unlike my research, its aim was not to develop new works by living composers for this instrument.
In Australia, significant composition for this instrument has really only occurred over the last four decades, with a few individual composers providing multiple works. In researching this topic,
numerous sources were consulted, the most fruitful of which, included the Australian Music Centre Library (AMC), ProQuest online database for theses and dissertations, Australian
University library catalogues and the Australian Clarinet and Saxophone Magazine. In order to
obtain a clear view on the status of repertoire created for this instrument by Australian composers an annotated bibliography compiling all repertoires known to the researcher is
provided in Appendix G. This bibliography lists all works known to me that have been written by Australian composers featuring the instrument in a solo or chamber capacity with information
pertaining to its date of conception, instrumentation, movements, duration, dedication or commissioning, first performance and available recordings. The majority of the works listed
were identified either in the theses of Gardiner or Farquhar as well as the Australian Music
Centre library catalogue. This particular catalogue consistently unspecified the type of clarinet used in a particular work, thus necessitating further research. I am aware that there may be other
works that have been composed by Australian composers that remain unknown to me and the sources consulted. Nevertheless, the bibliography lists all the published works that are currently
accessible to clarinettists wanting to explore this repertoire.
The extant repertoire for E-flat clarinet is certainly limited particularly as the majority of works
utilising the instrument are for varying ensemble configurations and do not feature the instrument in a solo capacity. Of the works listed, only three are for the instrument alone and,
among these Gifford’s work only uses the E-flat clarinet in the final movement. It is also notable that all the solo works and those with piano are rather short, between three and six minutes in
length. It is also striking that Elliot Gyger has produced by far the largest output of pieces by one composer for this instrument.
Interestingly, the first work to feature the instrument in a chamber music setting within Australian
composition only dates back to 1977 and, in a solo capacity, to 1983. This should not be
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surprising given that the majority of solo and chamber repertoire available for this instrument by
composers from around the world has only been written within the last seventy years (Gardiner,
2002, p. 55). Considering this, it is important that repertoire and subsequent training for this
instrument continues to develop in Australia. It is hoped that I may come to get the attention
from composers and performers that is more widely given to the bass clarinet. Not only can
playing the E-flat clarinet be satisfying and challenging to play, it is capable of a broad range of
expressive qualities.
To have the opportunity to work with Australian composers and expand the body of repertoire
for this instrument has been a thoroughly rewarding and enlightening experience. From this
initiative, ten new works by Australian composers are now available to be studied and
performed. Listed below are seven works for unaccompanied E-flat clarinet, two chamber works
and a concerto that all arose within the last two years in response to this research. This list also
includes works supplied by the entrants for the ComposE Composition Competition.
Bibliography of works generated from this research:
Beere, Justin. Under the cloak of righteousness. Unpublished, 2014.
Date of Composition: Completed in July 2014 Instrumentation: Flute, E-flat clarinet, bassoon, two violins, viola and cello. Duration: 9 minutes First performance: by Justin Beere, David Shaw, Chris Martin, Emma Buss, Imogen Eve, Katie Yap and Samuel Payne on the 31st of November 2014 at the South Melbourne Town Hall, Australian National Academy of Music. Publisher: Typeset score and parts available from composer.
Contact: justin_beere@hotmail.com
Dean, Paul. No Exit: Concertino for E flat clarinet and chamber orchestra. Unpublished, 2014.
Date of Composition: Completed in June 2014 Instrumentation: Solo E-flat clarinet, piccolo/flute, flute, oboe/cor anglais, contrabassoon, two bass clarinets, two trombones, bass trombone, piano, three double basses and two percussionists. Duration: 17 minutes First performance: by Justin Beere, David Shaw, Chris Martin, Emma Buss, Imogen Eve, Katie Yap and Samuel Payne on the 31st of November 2014 at the South Melbourne Town Hall: Australian National Academy of Music. Written for: Justin Beere. Publisher: Typeset score and parts available from composer. Contact: N/A De Jager, Peter. Zombie Meadows. Unpublished, 2013.
Date of Composition: December 2013 Instrumentation: E-flat clarinet and string quartet (two violas and two cellos).
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Duration: 6 minutes First performance: Justin Beere Katie Yap, Elliot O’Brien, Alexandra Partridge and Samuel Payne on the 31st of November 2014 at the South Melbourne Town Hall: Australian National Academy of Music. Commissioned: Justin Beere. Publisher: Typeset score available from composer. Contact: uberwolfie@hotmail.com Kopetz, Paul. Leprechaun for solo E-flat clarinet. Unpublished, 2013.
Date of Composition: Adapted for clarinet in 2013 Instrumentation: Solo E-flat clarinet Duration: 4 minutes First performance: Justin Beere on the 31st of November 2014 at the South Melbourne Town Hall: Australian National Academy of Music. Commissioned: At the request of Justin Beere. Publisher: Typeset score available from composer. Notes: Adapted from a work for violin. Contact: N/A Laing, Matthew. Monologue for solo E-flat clarinet, Unpublished, 2014.
Date of Composition: May 2014 Instrumentation: Solo E-flat clarinet Duration: 4 minutes First performance: Justin Beere on the 31st of November 2014 at the South Melbourne Town Hall: Australian National Academy of Music. Written for: Justin Beere. Publisher: Typeset score available from composer. Contact: matt.laing1010@gmail.com Myburgh, Josten. ‘Chronicle’ I for solo E-flat clarinet and piano body. Unpublished, 2014.
Date of Composition: April 2014 Instrumentation: Solo E-flat clarinet Duration: 4 minutes First performance: Justin Beere on the 31st of November 2014 at the South Melbourne Town Hall: Australian National Academy of Music. Commissioned: Winner of the 2014 ComposE Composition Competition, Sponsored by the Queensland Clarinet and Saxophone Society. Publisher: Typeset score available from composer. Contact: josten_myburgh@hotmail.com Turley, Alex. Sonatina for solo E-flat clarinet. Unpublished, 2014.
Date of Composition: April 2014 Instrumentation: Solo E-flat clarinet Duration: 4 minutes Commissioned: Submitted for the ComposE Composition Competition, 2014. Publisher: Typeset score available from composer. Contact: alex.turley@hotmail.com Blake, Dominic. The Lark for solo clarinet. Unpublished, 2014.
Date of Composition: April 2014
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Instrumentation: Solo E-flat clarinet Duration: 4 minutes Commissioned: Submitted for the ComposE Composition Competition, 2014. Publisher: Typeset score available from composer. Contact: d61a1043@uni.sydney.edu.au
Leung, Jasmin. Scattered Anapanasati for solo clarinet. Unpublished, 2014.
Date of Composition: April 2014 Instrumentation: Solo E-flat clarinet Duration: 4 minutes Commissioned: Submitted for the ComposE Composition Competition, 2014. Publisher: Typeset score available from composer. Contact: jasmin.leung.9@gmail.com
Wainwright, Aaron. In radiance for solo clarinet. Unpublished, 2014.
Date of Composition: April 2014 Instrumentation: Solo E-flat clarinet Duration: 4 minutes Commissioned: Submitted for the ComposE Composition Competition, 2014. Publisher: Typeset score available from composer. Contact: aaronwainwrightcomposer@gmail.com
The following chapters look to provide an in-depth discussion of a selection of these works that
involved a high level of collaboration and personal investigation. This includes the works by
Josten Myburgh, Matthew Laing, Peter de Jager and Paul Dean with the addition of a chapter
outlining the findings drawn from my own composition Under the Cloak of Righteousness. Paul
Kopetz’s short solo piece Leprechaun was not included in this discussion as, being a direct
adaption of a piece composed earlier for violin, it was not deliberately designed to exploit the
character of the E-flat clarinet and thereby did not raise many issues that would require an in-
depth analysis. The remaining works in this list were generated as part of the ComposE
Composition Competition and to include detailed discussion of these as case studies, would be
beyond the scope of this research.
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Chapter I
“Chronicle” I - Josten Myburgh
In 2013, for the purposes of this research, a composition competition was created for tertiary-
based composition students studying in Australian universities. With financial and marketing
support from the Queensland Clarinet and Saxophone Magazine the competition hoped to
provide this research with a broader scope of compositions whilst promoting the music of young
and emerging Australian composers. The competition was open to current students in an
Australian-based tertiary institution studying composition. There was no entry fee and entries
were submitted online. The only conditions stipulated were that the work had to be written for an
unaccompanied E-flat clarinet and not to exceed four minutes in length. Adjudicated by
clarinetist and composer Paul Dean, and pianist Dr. Stephen Emmerson the prize was awarded
to Josten Myburgh from Perth for his work “Chronicle” I. The following chapter therefore
discusses this work, outlining Myburgh’s compositional approach, which involves highly intricate
and complex effect-based writing for the E-flat clarinet, and the challenges these pose to the
performer. Inspired by a YouTube video entitled, “The chronicles of pimple joe (part 1),” which
belongs to the “YouTube Poop” genre, “Chronicle” I' is a piece that attempts to realise the
plethora of bizarre and crude devices that are employed in this video, which is designed to mock
the absurdity of the aesthetically substandard remix culture. In the foreword to the score
submitted with the composition Myburgh remarked that
Rather than assuming a mocking tone, I instead focus on the bizarrely sophisticated
use of crude techniques that is present in this particular video – glitching, reordering
of frames, separation of the audio and video streams, superimposition and more are
used in context with reprises of fragments to maintain structural integrity whilst the
video moves to extreme far out points. (Myburgh, 2014)
This quotation helps to explain the seemingly nonsensical and bizarre streams of effects in
Myburgh’s piece. Included in this almost continuous line of extended playing techniques are
tonal and timbral variations, ornamentation, accented breathing, flutter and slap tonguing,
multiphonics, singing independently and whilst playing at the extremes of dynamics and register.
Throughout the work these effects undergo a series of transformations when applied to various
cells of material, becoming entangled and subsequently developed.
Together, through these concepts the composer attempted to “transfer the influence of post-
internet absurdity into a physical experience” (Myburgh, 2014). Myburgh categorised such
stimuli into three areas, namely, the audible, visible and 'referential'. Arguably these aspects
11
provide a structure for the work, which otherwise avoids any specific narrative. Myburgh (2014)
stated that, “the myriad of micro-narratives implies some sort of lattice structure with a network of bonds between each moment.” This is demonstrated in Figure 1.
Figure 1: Myburgh, “Chronicle” I, opening
As seen above, the work beings with a singular accented in-breath, followed by five-second silent pause, immediately igniting both the abstract and theatrical nature of this work. Without
bar lines or sense of consistent tempo or metre, the work unfolds via jarring and sudden gestures, intertwined with moments of calm and multi-faceted sounds. The transformations of
effects occur when previously explored material is placed next to or within a reoccurring effect often generating a dual layer of co-existing effects. An example of this design is given in Figure
1.1. Here the breathy tone (indicated by square note heads) is followed by both pure tone and the performer’s voice, which is then played into the body of the piano. On top of this the
performer is also required to produce measured timbral oscillations indicated by the ‘+’ signs.
12
Figure 1.1: Myburgh, “Chronicle” I, excerpt from pg. 5 of score
Another feature of this section requires the performer to simultaneously sing a concert ‘E’ and
glissando up to concert ‘A’ whilst also performing the multiphonic given. The work finishes with
some discreet gestures: some triple pianissimo sevenths are followed by a somewhat pondering
repeated motif, that is then juxtaposed beside a wave of rapidly ascending quintuplets before
concluding with the first multiphonic. (See Figure 1.2). Myburgh explains such a process stating
that, “the piece essentially distils some form of order out of digital chaos - it returns the digitally
ravaged video to the form it originated from, that being a single person communicating with an
audience.”
Figure 1.2: Myburgh, “Chronicle” I, ending
13
This work contains quite sophisticated writing for the E-flat clarinet. It is both highly virtuosic and
conceptually challenging for the performer requiring and acute sense of pitch for the vocal
sections and a strong command over the various array of techniques requested. Instructively,
Myburgh provided a clear indication of his intentions regarding the various forms of notation and
this presented in the foreword of the score. (See Appendix K: “Chonicle” I – Josten Myburgh –
musical score).
Notes to the performer:
The highly intricate and relatively unusual writing for the E-flat presented a number of issues for
the performer that are worthy of an explanation.
In regards to performing this piece, it was apparent to me early on that the performance space
would play an important role. Two areas of the work that explore atmospheric effects, namely,
the phrases with almost no tone and also the sympathetic resonance, which is produced playing
into the body of a piano, the strings of which are free to resonate. The hall at Australian
Academy of Music where this work was first performed is very large and also very reverberant.
This deeply affected the impact of these two effects and the degree of detail that could be heard
back in the hall. Firstly, the almost not tone areas were attempted with slightly more volume than
the instruction suggests in order to project a clearer view of the notated pitches. This is evident
in the recording of this performance where the close placement of microphones does not reflect
what audience members in the hall would have heard. (See Appendix P: CD recording: Recital in
Es, track 3). Secondly, a realisation that was made too late in the preparation process was the
necessity for amplification of the piano strings’ sympathetic resonance. Though the effect is
relatively clear on the recording unfortunately, from reports of audience members in the
performance this effect did not project in the hall convincingly.
If, like me, the performer does not have perfect pitch, vocalising needs to be thoroughly
practised and internalised prior to the performance. Moreover, the singing of the tonic or
independent pitches within a multiphonic can pose difficulties in stabilising the multiphonic and
thus requires much practice during the period of preparation to be reliable. The first multiphonic
presented is a challenging one to produce particularly with the addition of a sung tonic, in this
case a written C-natural. I found I was able to achieve this more reliably by ensuring the
embouchure was relaxed and the angle of the clarinet lowered prior to and during the sung note
in order to better support the voicing of the multiphonic. (See Figure 1.3).
14
Figure 1.3: Myburgh, “Chronicle” I, first multiphonic
Similar preparation can also be applied to the final line of the piece. Concluding on the same
multiphonic, this requires the preceding quintuplet to assume the sound quality of the
multiphonic, by ‘opening’ the sound and elongating the duration of the descending line to assist
in connecting these gestures and securing the desired effect. (See Figure 1.4).
Figure 1.4: Myburgh, “Chronicle” I, final line
An important realisation I made relates to the sung ‘A’ within the multiphonic presented in Figure
1.5. This was achievable at the octave written when isolated; however in context it was not
reliable and frequently disrupted the stability of the overtones within the multiphonic. To counter
this I took the pitch down an octave, which successfully avoided destabilising the multiphonic.
Figure 1.5: Myburgh, “Chronicle” I, combining techniques
It is also important to note that the ‘slap’ tongue indications were not within my grasp and were
15
therefore played as a weighted accent on the written ‘E’. Another challenge was faced in
accessing the written altissimo ‘A’ in the fourth set of quintuplets, which is displayed in Figure 1.6. In order to maintain the accelerando while still enabling the ‘A’ for it to speak, an alternative
fingering for the ‘F#’ was sought.
Figure 1.6: Myburgh, “Chronicle” I, altissimo ‘A’
The successful fingering sequence is given below in Figure 1.7.
Figure 1.7: Myburgh, “Chronicle” I, F# to ‘A’ altissimo fingering sequence
On the whole, preparing this work required much isolated practice of individual gestures. Once these were understood and could be played reliably, a clearer view of the bigger picture and the
pacing it required could be established.
“Chronicle” I is an ambitious and exuberant work that could act as insightful study for an E-flat
clarinettist who would otherwise have little opportunity to explore this style of playing on this
instrument. As a highly effective composition for this instrument, it also encourages the development of the ComposE Composition Competition into a nationally established entity that
16
could not only continue to encourage more music for the E-flat clarinet but also provide a model
that could expand the repertoire for other relatively neglected instruments.
.
.
17
Chapter II Monologue - Matthew Laing
Monologue for solo E-flat clarinet by Melbourne based violist and composer Matthew Laing is a
work that explores the fleeting nature of human thought. The core material featured in this work
was originally written for solo violin in the style of an extended improvisation. After some
consideration Laing later refashioned the work for B-flat for clarinet but, unconvinced again, it
was shelved and remained unperformed. After hearing about the ComposE Composition
Competition, Laing realised that he did not fulfil the entry requirements of the competition but
nonetheless offered a re-worked version of this material for E-flat clarinet. Beginning with an
overview of the work, this chapter looks to discuss the various facets and notable features of
this work, Laing’s approach to writing for the E-flat clarinet and pertinent considerations for
performance.
In various respects the work is similar to a study. The piece is structured around four brief and
clearly defined ideas that gradually expand and internally interrupt one another. Laing describes
the musical process as one that “essentially imagines small ideas or fragments creating an
internal conflict that feeds off itself to become something exponentially far more dramatic than
really necessary or warranted” (Lang, 2014). In addition to this, Laing refers to an “internal
monologue idea, knowing two… separate things and then having them play against one another
kind of back and forth” (Laing, Jan 5, 2015).
The first idea, entitled Free, impulsive, embodies an extroverted rhapsodic character, utilising
rapid ascending lines inclusive of large glissandi, unmeasured rhythmic gestures and fermatas.
(See Figure 2).
18
Figure 2: Laing, Monologue, bars 1 – 3
This impulsive and florid style gently recoils in bar 4 leading into the Pesante section. Here we
see the first integration of a harmonic centre becomes apparent. Loosely based on G# minor,
the character of this section shifts to a more lyrical and sombre quality, which is underpinned by
a mixture of simple and compound metres. (See Figure 2.1).
Figure 2.1: Laing, Monologue, bars 4 - 11
Although Laing did not employ any specific narrative or programmatic idea, there is a cohesive
structure inherent in the work. Laing remarked that the work describes “…the thinking process
about something that’s either stressful or… not easy to sit with but it doesn’t really tell any
specific stories… so it’s kind of abstract in a sense” (Laing, Jan 5, 2015).
This idea arguably directed the compositional process of the work where fragments of musical
ideas previously presented or not fully realised reappear sporadically. Bar 4 marks the first
19
glimpse of this design (see Figure 2.1) in referencing the broken set of quintuplets that become
the framework for the Agitato character.
This Agitato is the third concept of the piece to be presented. This section is also loosely based
around G# minor, however with much chromatic embellishment and enharmonic alteration. The
Agitato section also features a consistent outpouring of semiquaver quintuplets frequently
unhinged by short rests and interrupted by short marcato accents. It is also noteworthy that
Laing considered the accented notes, when played sequentially, to form a melody. (See Figure
2.2).
Figure 2.2: Laing, Monologue, bars 32 - 40
The final cell of material, Suddenly faster, draws on stately march-like qualities, employing
dotted rhythms and flourishing passagework. After a repeat of the Agitato material the four cells
become entangled, often re-voicing the characters of each individual cell as they intertwine or
depart from the expected melodic direction. Perhaps the most condensed area utilising this
design exists in bars 60 – 65. (See Figure 2.3). Fragments from all four concepts converse within
a softer dynamic before a hostile outburst in bars 66 - 67.
20
Figure 2.3: Laing, Monologue, bars 62 – 65
The work concludes paying tribute to the opening theme of the Pesante section with a final
inconsequential flourish preceding two quietly spoken ‘G#’s’. (See Figure 2.4: bars 88 – 90).
Figure 2.4: Laing, Monologue, bars 88 – 90
Laing’s writing is both adventurous and challenging for the E-flat clarinettist. Laing (2015)
discussed that in his approached to writing for E-flat he was mindful to circumvent the
instrument from dictating what was possible. In his desire to avoid over-accommodating for
idiomatic playability, a very gestural and character based style of composition ensued, allowing
for greater melodic shaping and uninhibited expression. Nonetheless, there is nothing in the final
version of the work that would be unplayable by an advanced player. Laing commented that he
“made a deliberate decision not to even think about whether it was idiomatic” because players
are “so ready to do things that are not in… all the training books because that’s part of the
21
challenge of playing the instrument as well as finding novel ways to… problem solve…” (Laing,
Jan 5, 2015).
In regards to registral use and effects, Laing explores the entire range of the instrument including
the use of large intervallic glissandi and flutter tonguing. Initially Laing had written pitches in the
upper region of the altissimo that, whilst possible, tend to be highly volatile and generally
unstable. (See Figure 2.5). After some discussion, given the feasibility and somewhat chance
nature of executing these pitches within the gesture envisaged, Laing revised these passages to
ensure more reliable execution by lowering the pitches as shown in Figure 2.6. This is not due to
the impossibility of producing those pitches but to enable the reliable execution given its context
within the overarching melodic line.
Figure 2.5: Laing, Monologue, bars 20 – 23
Figure 2.6: Laing, Monologue, bars 20 – 23 adjusted
Laing’s ambitious writing also exploits the instrument’s full dynamic range, requiring great
flexibility and more importantly, virtuosic control of soft playing in the upper register. As an
unaccompanied work, this of course can be achieved with great effect but not without
considerable preparation given the bold nature of the instrument. An example of this is
demonstrated in bar 4, shown previously in Figure 2.1 and in bar 89 (Figure 2.4).
An added challenge lies in bars 52 – 61, where fast passagework leaping across the various
registers of instrument is to be played within piano. Coupled with sharp and irregularly placed
accents, this section is difficult to execute effectively and with even voicing, affirming the notion
22
that musical concepts were generally prioritised over instrumental limitations. (See Appendix L:
Monologue: Matthew Laing – musical score).
In addition to the post-performance interview, I was fortunate to have the opportunity to conduct
a first reading-session with the composer, which provided many valuable insights into both his
compositional intentions and his thoughts on performing the work. This interview was recorded
and, given that it discusses these matters in more depth than the scope of this document allows,
the recording is included in Appendix S (track 1). However, an important outcome of this
meeting, aside from the information already discussed, was Laing’s subsequent revision of the
piece’s notation. Laing’s reformatting of several passages of the score hoped to not only
clarified his intentions but also provided a more coherent indication of melodic pacing,
specifically in relation to glissandi and accentuation.
Notes to the performer:
This work presents the performer with a myriad of challenges that cannot all be discussed in
detail within the scope of this document. However this section suggests potential solutions for
some of the notable issues or challenges that were faced in the lead-up to the performance.
The first issue I wanted to clarify with the composer was the intent behind bracketed-pauses and
commas. Laing explained that that bracketed pauses are to suggest elongations of note lengths
but shouldn’t be performed with the same sense of poise that non-bracketed pauses might
receive. The commas, which would normally indicate a breath, refer to a clearing of the sound.
Also, a minor but important clarification, established that the trills in bar 50, should be performed
with the semitone above.
Another important consideration surfaced during the read through session regarding the Agitato
sections. In reference to the quintuplet groupings, Laing stated that, “if it rushes or slows down,
that’s not an issue”, (Laing, Jan 5, 2015). Laing hoped to amplify the impulsive element of this
material, suggesting the abstract depiction of slightly irrational thoughts by avoiding the use of
balanced rhythmic groupings organised in fours, sixes or eights. Thus, any irregularity in pulse
would assist in promoting this slightly unstable feeling. In a general extension of this idea, Laing
also felt it was important to take advantage of any opportunity to exaggerate disconcerting
elements throughout the piece.
23
Execution wise, there is a level of agility required of the performer in this work, demanding
complete control of softer dynamics, rapid variation of articulations and a highly advanced
technical facility. Although this is self-evident upon perusal of the score, there were some
discoveries in preparing this work that assisted in simplifying the level of difficulty. For instance,
the glissando leading into bar 4 is difficult to achieve at the dynamic given when using ordinary
fingerings. This can be greatly assisted utilising an alternative fingering shown in Figure 2.6
below.
Figure 2.6: Laing, Monologue, alternative ‘C#’ fingering diagram
In bar 44, the septuplet figuration requires an alternative fingering for the written ‘D’ in order to
more easily access the proceeding ‘G’. A solution for this was to approach the ‘G’ from an open
‘D’ fingering. This fingering sequence is shown in Figure 2.7.
24
Figure 2. 7: Laing, Monologue, fingering sequence for bar 44
Another useful fingering applicable to a number of passages is demonstrated in Figure 2.8.
This fingering for the note ‘G#’ allows for easier access to this note in bar 21, which also
simplifies access to the written ‘E#’ that follows. It can also be used in bar 67 to assist with the
rapid repeated articulations before ending on the written ‘D#’.
Figure 2.8: Laing, Monologue, ‘G#’ fingering diagram
This fingering was also engaged in Bars 83 – 86 to ensure greater security and legato when
approached from the written ‘F’ below and proceeded by the written ‘D#’. (See Figure 2.9). The
25
use of regular ‘G#’ fingerings on my instrument were found to be less in tune (generally flat) and
less reliable in relation to getting the note to speak.
Figure 2.9: Laing, Monologue, bars 83 – 86
Finally, one of the more challenging phrases to execute exists in bar 89 with a large leap to a
written ‘F#’ in the altissimo at ‘ppp’. This was resolved with the use of a fingering shown in
Figure 2.10 in conjunction with placing less mouthpiece in the embouchure for greater reliability
and control.
Figure 2.10: Laing, Monologue, bar 89, ‘F#’ fingering diagram
It is essential to note that Monologue is the first work of Matthew Laing’s to ever be performed.
Considering this, it is a work of impressive compositional prowess and provides the player with a
gamut of musical and technical challenges. It now stands as one of the few unaccompanied
works for the E-flat clarinet by an Australian composer and I believe has the potential to not only
26
hold its place within the repertoire but also significantly enhance the player’s awareness and
understanding of the idiosyncrasies of this instrument.
27
Chapter III Zombie Meadows - Peter de Jager
Zombie Meadows by Peter de Jager was one of the first works written for this project.
Completed in December of 2013, the work is scored for an irregular clarinet quintet, utilising two
violas, two cellos and E-flat clarinet, which programmatically depict three scenes, namely,
Midnight Field, Siege and Infection. This chapter seeks to unveil the premise and ideologies
behind the work’s conception, providing an overview of its form with some insights into de
Jager’s unique treatment of the E-flat clarinet and observations drawn from preparations,
rehearsals and the performance.
In designing the piece de Jager stated that, “the first image that came to mind was one of piping
Arcadian shepherds. But then I remembered the piercing astringency of the instrument's tone,
and the scene shifted to an eerie night-time landscape, with hulking figures lurking in the
shadows”, (de Jager, 2014). The first section of the work, Midnight Field, introduces the E-flat
clarinet as the narrative’s protagonist. In this case the E-flat clarinet is portraying the
improvisatory piping of an Arcadian Shepherd. Zombie Meadows continues a compositional
pattern for de Jager, where he selects a group of instruments and plays their individual lines
against one another. This is apparent in de Jager’s concept of the ensemble that separates the
instruments into two distinct entities, where the lower voice of the string quartet functions to
offset the penetrating quality of the E-flat clarinet (de Jager, Jan 10, 2015). This framework is
omnipresent throughout the work. The first section in particular explores the distinct roles of solo
and accompaniment, with the clarinet floating above a gently morphing chord-like undercurrent.
(See Figure 3).
Figure 3: de Jager, Zombie Meadows, bars 13 – 15
28
The chords in the string quartet shape-shift via shuddering glissandi in pairs, which slowly
become more and more dictated by notated ascending or descending chromatic pitches. (See
Figure 3.1). This is significant as it acts as a thread, joining this section with the material used in
the Siege.
Figure 3.1: de Jager, Zombie Meadows, bars 24 – 26
Sweeping lines in the clarinet suggest a calming pastoral quality. These become slightly gnarled
and warped pitch-wise with the use of frequent quartertones suggesting the onset of greater
torment. Before the close of this scene, the clarinet performs an almost Mahlerian folk-like
melody, ironically encapsulating the jovial and buoyant qualities of a carefree shepherd. (See
Figure 3.2).
Figure 3.2: de Jager, Zombie Meadows, bars 27 – 34
The Siege, which begins in bar 41, is more rhythmically directed by the quartet through a highly
complex body of sound created by multi-layered chromatic oscillating figurations. This is
subsequently interrupted by ‘hammer-like’ accents (see Figure 3.3) that combine to generate a
consistently polyrhythmic design. De Jager (2014) stated that the “hammer blows suggest a
battering ram at the rickety wooden door of a makeshift hideout.” This ‘swarming’ like texture
increasingly intensifies as all string parts collate rhythmically in running semiquavers.
29
Harmonically this section could be described as organised atonalism generating an unsettled
and tormented atmosphere. Peter de Jager (2014) described that this section aims to illustrate
the “zombie hordes that swarm about the protagonist.” (See Appendix F: Recital in Es program
notes).
Figure 3.3: de Jager, Zombie Meadows, bar 54
De Jager describes the image of the final scene, Infection, in his program notes, in the following
terms,
The final scene, "Infection" begins with one of the ensemble members becoming un-
dead, and gradually infecting the others, who then blunder about with menacing cluster
chords. The last to fall is the clarinet, and the piece ends with a texture I describe in the
score as "twitchy corpse". (de Jager, 2014)
This scene is mobilised by a greater independence of voices that once ‘infected’, join together in
rhythmic unison, becoming ‘un-dead’. This is initiated by the second cello and slowly engulfs the
rest of the quartet. During this time the E-flat clarinet wails hysterically above the ensemble, with
Tarzan-like yodelling within dense and complex rhythmic structures. (See Figure 3.4).
Figure 3.4: de Jager, Zombie Meadows, bars 64 -67
30
The first ensemble unison occurs in bar 93 (Figure 3.5), marking the character’s transition into
Zombie mode. Rapid ascending flourishes from the E-flat exploiting the agility and upper register
of the instrument including pitch bending, timbral trills and flutter tonguing that attempts to
express the Shepherd’s last moments. (See Figure 3.6).
Figure 3.5: de Jager, Zombie Meadows, bars 93 – 95
Figure 3.6: de Jager, Zombie Meadows, bars 91 - 102
There is a strong sense of fun embedded in this work, which is not only driven by the narrative
by also the associated quirkiness of the E-flat clarinet. Having said that however, de Jager’s
highly colourful, atmospheric and generally homogenous writing is not without a great deal of
31
thought and careful planning. His approach to writing for this instrument is well balanced, paying
homage to the E-flat clarinet’s typical usage in portraying eccentric characters whilst also
extending its flexibility and technical capacity. With highly intricate and relatively complex
passagework throughout, Zombie Meadows contains a range of issues requiring careful
consideration from the performer. The most obvious of these is the use of quartertones. The
frequency of consecutive quartertones, particularly at the speed desired, required extensive
investigation and experimentation with different fingerings. The complexity of this writing is
shown in Figure 3.7. The generally awkward nature of quartertone fingerings meant that, in order
to execute this as effectively as possible, a fingering sequence was generated. This is discussed
in greater detail in the “Notes to the performer section” of this document.
Figure 3.7: de Jager, Zombie Meadows, bars 17 – 20
In terms of dynamics, de Jager has taken a minimalist approach. Hypothetically, this could
reflect the unruly nature of the instrument but calls upon the skill and judgement of the player to
wield and shape its sound effectively. It is more likely, given conversations had with the
composer, that his motivation was for the portrayal of characters within the narrative to inform
the ensemble’s choice of dynamics and colour of sound. Regardless, there is a level of freedom
given to the performer in de Jager’s writing that forces the performer to make carefully
considered decisions based on the content present in the score and suggested by its narrative.
Notes to the performer:
Preparing this work for performance taught me a significant amount about the instrument and
clarinet playing in general. The work demands acute rhythmic precision, flexibility of sound and a
thorough awareness of the ensemble. But it also makes particular technical challenges that
require a mastery of microtonal fingerings that is rarely encountered in repertoire for this
instrument. In hindsight, there was certainly a level of technical instability and lack of confidence
in my preparation for the performance of this work. This was largely due to the challenges
associated with the fast microtonal sections where it was difficult to remove the prospect of
32
immanent fallibility. For this reason, the bulk of this section will be spent discussing this issue.
As with other clarinets, there are in most cases, several different fingering options for a singular
quartertone and the player decides on which to use depending upon the context and pitch
required. In this case, it was important to realise a series of fingerings that provided a seamless
connection from the regular passagework. Due to the frequent usage of quartertones and the
pace required, a fingering sequence was devised to allow for finger fluency and playability whilst
maximising the desired effect. There were times however, where singular quartertones could not
be fully realised by a workable fingering, particularly ‘D’ raised-flat quartertones in the clarion
register and some others because of the notes surrounding them. In a discussion with de Jager
regarding this, it was clear that he was more concerned that the performer produces noticeable
and interesting colour variations than playing every individual quartertone accurately. This
sequence of fingerings is outlined in detail below. This is of course not the only approach that
could be taken. However, to the researcher’s knowledge and after careful consideration this is
the most suitable and effective fingering system I could devise.
The fingering chart is organised by bar and listing the sequence applicable for each individual
beat. It is worthy underlining that fingerings were chosen on the basis of their functionality within
the sequence and not always on their absolute accuracy of pitch. These fingerings were also
selected to provide the greatest security when under pressure in performance.
Before we begin delineating the approach taken, it is imperative to mention that not all of the
notated microtones were achieved through choice of fingering. Those in bars 10 to 11 (see
Figure 3.8) are a case in point where the intonation was adjusted by simply opening the
embouchure (dropping the jaw) to achieve the desired effect. After performing this section to the
composer, it was apparent that the microtone fingerings possible for this passage didn’t
produce a result that was apparent to the listener and so he was happy for me to adjust the
pitches with my embouchure.
Figure 3.8: de Jager, Zombie Meadows, bars 9 – 11
33
Fingering Chart Figure 3.9: de Jager, Zombie Meadows, bar 18, beats 1 – 4. 1. 2.
3.
4.
At first glance the fingerings required in this section are perhaps the most convoluted in design.
However, simply adding the E/B key on the right side of the instrument where necessary can
assist in the first and second beats of this bar. As the chart above shows, it is left down for the
entirety of the second beat. The issue however arose in beat three, where it became evident to
me after much experimentation that no workable fingering for the ‘D’ raised-flat quartertone was
possible on the instrument in this particular context. In this case, after discussions with the
composer a regular D-flat fingering was used.
34
Figure 3.10: de Jager, Zombie Meadows, bar 19, beats 1 – 2. 1. 2.
The only modification in this phrase was applied to the ‘B’ raised-flat quartertone in beat two.
The complex nature of relatively awkward fingerings over these beats imposed on the arch of the
phrase, creating an uneven rhythmic quality. This was far less of an issue by playing a B-natural
and opening the embouchure to slightly lower the pitch.
Figure 3.11: de Jager, Zombie Meadows, bar 19, beat 4 and bar 20, beat 1.
This sequence features rather standard quartertone fingers. The issue here is faced on the ‘C’
raised-flat quartertone, requiring a regular ‘C’ fingering and loosening of the embouchure.
35
Figure 3.12: de Jager, Zombie Meadows, bar 25, beats 3 – 4. 3. 4.
To facilitate this sequence, the same fingering was employed in the first beat for the ‘C’ raised-
sharp and the ‘G’ lowered-flat.
Figure 3.13: de Jager, Zombie Meadows, bar 26, beats 1 – 3. 1. 2 – 3.
This section is by the far the most involved, requiring a considerable amount of repetition in
practising to solidify. Issues were faced once again in the lower clarion, pertaining to the note ‘C’
and ‘D’. These were simplified in order to accommodate for more freedom in the fingers to
ensure greater reliability of execution the upper area of the passage.
36
Figure 3.14: de Jager, Zombie Meadows, bar 38, beats 3 – 4.
3. 4.
Due to the complexity of these passages no new fingering were introduced. Similarly, as
experienced in previous sections, the ‘D’ raised-flat was not realised with a fingering but with the
embouchure.
Figure 3.15 de Jager, Zombie Meadows, bar 39, beat 1. 1.
The selection of fingerings presented here does not aim to be prescriptive but were utilised as
they suited my hand size and playing style. It is also important to underline that it was difficult to
fully realise the intricate detail of parts of this microtonal writing and therefore assistance was
37
almost always required from the embouchure to recreate the desired outcome of these
passages.
Zombie Meadows is the first work for this instrumentation by an Australian composer. It has also
significantly extended my knowledge of the instrument’s capabilities, particularly in relation to
technical facility and its potential flexibility. It is not only a valued addition to this research but
also a striking addition to the repertoire for E-flat clarinet, harnessing a vibrant and colourful
reimagining of the traditional clarinet quintet.
38
Chapter IV Under the Cloak of Righteousness - Justin Beere
To inform this research, which is focused on the writing for the E-flat clarinet, I also composed a
work featuring this instrument. I did not aim to exploit the full capabilities of the instrument nor
attempt to generate innovative or original compositional techniques. I saw the work as
compositional study through which I could experiment with various techniques and textural
designs to assist my understanding of how this instrument can be incorporated within a
chamber music setting. As with the preceding chapters, a brief overview of the work is
presented, followed by a brief discussion of the some aspects pertaining to work’s construction,
rehearsals and the performance, (see Appendix P: CD recording: Recital in Es, track 2).
However, this document does not include a “Notes to the performer” section given the
uncomplicated nature of the piece and its relatively modest writing for the E-flat clarinet. In its
place is a section that discusses some issues and solutions regarding the work’s use of the E-
flat clarinet.
Scored for flute, E-flat clarinet, bassoon and string quartet, Under the Cloak of Righteousness is
intended to be musical representation of (or response to) my daily interaction with
righteousness. This particularly concerns my frustration with individuals and organisations that
claim to embody greater moral superiority, belief systems or social status than those around
them. Their initial façade may seem appealing, but a closer look reveals darker motives,
betraying the very values they claim to uphold. Although the narrative may infer a criticism of
religious institutions or indeed various forms of fundamentalism, I intended to depict the concept
in more universal terms. The work presents a series of abstract scenes that aim to depict various
stages of engaging with righteousness. This piece is a through-composed work that is
essentially divided into five scenes, namely, The Veil, Righteousness, Under the Cloak,
Reminiscent and Chorale.
The Veil describes the first encounter with righteousness, which presents a state of emotional
conflict that is torn between allure and hesitation. To represent this, a four-bar chord progression
with consistent tension and resolution was employed. This can be seen in Figure 4, where muted
strings, playing sustained accompaniment with interrupting tremolos, provide the foundation for
this setting. The wind instruments colour this texture with short phrases that instigate further
suspension and release.
39
Figure 4: Beere, Under the Cloak of righteousness, bars 1 – 7
As the interaction blossoms each party discovers more of its counterpart, its presence and
intentions. In this section the writing attempts to explore the E-flat’s florid and lyrical capabilities.
An important relationship develops between the flute and the E-flat clarinet. (See Figure 4.1).
Figure 4.1: Beere, Under the Cloak of Righteousness, bars 15 -19
The second scene presents Righteousness at its most idealistic, conveying its integrity, peaceful
outlook and its demand for unconditional faith. This conversation is led by the flute, which
attempts to encourage the rest of the ensemble to follow suit. There is also an immediate shift in
character to a more positive state, with greater independence of voices that create intermittent
counter melodies. (See Figure 4.2).
40
Figure 4.2: Beere, Under the Cloak of Righteousness, bars 37 - 41
Driven by the first violin, the character of the music transitions in bar 42, embodying greater
rhythmic impetus and following a more traditional texture of melody and accompaniment.
Motivated by the idea of frustration, this scene unfolds over a six-bar phrase that gradually
becomes more involved both rhythmically and dynamically. (See Figure 4.3).
Figure 4.3: Beere, Under the Cloak of Righteousness, bars, 47 – 49
Eventually the metaphorical veil falls, highlighting the inner darkness of righteousness. This is
reflected in the highly chromatic writing, density and distribution of material and the use of rapid
41
passagework in the flute and clarinet in the upper region of their range (Figure 4.4). Cluster
chords, accents, polyrhythmic activity, swelling chords in the strings and constant harmonic
tension are also used to suggest a sense of torment. .
Figure 4.4: Beere, Under the Cloak of Righteousness, bars 70 – 78
Under the Cloak continues until bar 111 at which point the character shifts again. Entitled
Reminiscent, the section focuses on the desire for circumstances to change. This is explored
using the string quartet alone, featuring a slightly unstable drone that utilises an expanded trill
that is paired between the violins with one performing with a serrated paper clip on the ‘G’
string. The viola assumes the role of the protagonist in this scene generating a more ponderous
and nostalgic outlook (see Figure 4.5).
Figure 4.5: Beere, Under the Cloak of Righteousness, bars 113 – 18
42
Finally reconciled with their differences and an appreciation to co-exist, a chorale concludes the
piece with a sentiment of hope.
My goal was to write a work that would provide many roles for the E-flat clarinet. I hoped to
incorporate the instrument both lyrically and soloistically, but also to experiment with its
blending capabilities. Ultimately through this approach I sought to gain insight into the
instrument’s flexibility and ability to produce different qualities of sound without overpowering or
dominating the ensemble. Pairing the E-flat clarinet with the flute was one way in exploring the
degree to which this is possible. The flute was chosen because its register is not too far
removed from that of the E-flat clarinet. Although the flute has a softer-edged sound, it doesn’t
have the same dynamic capabilities. It does however allow for very soft playing in the upper
register, which is the opposite for the E-flat clarinet. This pairing seemed appropriate to explore
this idea. An example of this writing can be seen in Figure 4.6 where the flute and clarinet
perform the same material in the same octave but slightly displaced rhythmically in order to
assess whether the instruments could seamlessly co-exist. To do so is an immense challenge for
the E-flat clarinettist but not unachievable.
Figure 4.6: Beere, Under the Cloak of Righteousness, bars 16 - 19
It was clear after performing the piece that these types of unisons and the exploration of the
lyrical side of the E-flat clarinet in upper register raised intonation issues that needed to be
rectified. Initially these could be addressed by aiming for a more gentle and supple style of
playing. It was apparent that more time needed to be taken in cultivating this often-neglected
side of the instrument’s character. There were passages however that needed to be re-written in
order to address for the balance and intonation issues. This is evident in the recording of the
performance, where a few moments in the E-flat clarinet part clearly require registral adjustment.
The first imbalance occurred in bars 26 – 29. This has since been re-written to allow the E-flat to
play comfortably without detracting from the overall gesture.
43
Figure 4.7: Beere, Under the Cloak of Righteousness, bars 26 – 31
Adjusted version:
This was also the case in bars 95 – 101. My optimistic ambition to show that this instrument is
capable of blending without the performer needing to constantly moderate the dynamics was
again disproven. This type of playing also significantly detracts from the overall character or
gesture that is intended. Figure 4.8 is another example of misjudgement in this regard. The
44
correction specifically applies to bars 98 – 100, where the E-flat clarinet is simply too high to
balance the body of the chord. A correction is offered below the figure.
Figure 4.8: Beere, Under the Cloak of Righteousness, bars 93 – 101
Adjusted version:
In addition to the registral, balance and intonation challenges, I also perceive the work to lack a
clear cohesion of material and, at times, rhythmic stability. This directly impacted the flow of the
narrative and the performers’ ability to present the material confidently and persuasively. For this
reason, sections of the work were re-written to convey a clearer development of ideas.
This can be viewed in the violin cadenza (Figure 4.9) and the addition of the bassoon and E-flat
clarinet in bar 47 to provide more rhythmic stimulus and ensemble unity. (See Figure 4.10).
45
Figure 4.9: Beere, Under the Cloak of Righteousness, violin cadenza
Adjusted version:
Figure 4.10: Beere, Under the Cloak of Righteousness, bars 47 – 50
46
Figure 4.10: (Ctd.)
Adjusted version:
In regards to establishing greater cohesion of material, the linking passage between
Righteousness and Under the Cloak presented most the obvious point of stagnation. Additional
of material given to the E-flat clarinet and the flute here, seeks to correct this. (See Figure 4.11).
Figure 4.11: Beere, Under the Cloak of Righteousness, bars 50 – 55
47
Adjusted version:
On the whole, it is clear that, when including this instrument in a chamber music environment,
the tone qualities of the other instruments require careful consideration. The other instruments need to balance the intensity of the E-flat clarinet by providing a body of sound that will support
its natural projection. Having said that, treating the instrument similarly to the flute provided some useful insights. Although this was not always successful, particularly above block chords
with the instrument in the altissimo register, the successful blending of them was possible after
some simple adjustments of octave registers. The musical result is in no way groundbreaking, but it was a useful exercise for this research in exploring the lyrical qualities of this instrument
and in deepening my understanding of the challenges in writing effectively for it.
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Chapter V No Exit: Concertino for E-flat clarinet and chamber orchestra - Paul Dean
The final chapter in this document focuses on the most ambitious and extended work in this
research project, Paul Dean’s No Exit for solo E-flat clarinet and chamber ensemble. Due to the
failure of the recording equipment during the first performance, the work was re-recorded on
December 11 of the same year. Both recordings are included in Appendix P: CD recording:
Recital in Es, track 6 and Appendix Q: CD studio recording: No Exit, track 1. Again, the work
has a strong narrative quality. Programmatically, the work depicts the journey of a refugee’s
escape from tyranny, his unimaginable struggle and relentless will to survive, only then to be
rejected asylum. The work is scored for solo E-flat Clarinet, piccolo/flute, flute, oboe/cor anglais,
contraforte bassoon, two bass clarinets, two trombones, bass trombone, piano, three double
basses and two percussionists. It unfolds over three distinct sections, which are performed
without separation. Paul discussed in an interview conducted on the 16th of December in 2014,
that the piece
…came at time when I was thinking a lot about the Hindemith Kammermusik and
so I thought that an ensemble that was not identical but kind of similar to some of
the ensembles that Hindemith came up with for his string and piano concertos, the
Kammermusik cycle, would be quite ideal for the E-flat clarinet, (Dean, Dec 16, 2014).
As a passionate advocate for refugee rights, Dean sought to pay homage to the brave souls who
have lost their life in an attempt to survive and enjoy the world so many of us here in Australia
are afforded. Represented by the solo E-flat clarinet, the refugee exclaims in a dramatic fight to
be heard against the chaos and stubborn natured social structure that is presented by the
chamber orchestra. This explicit intensity and torment is exacerbated by the inner conflict
present within the ensemble throughout the work. Dean reiterates this in his statement:
I’ve been very passionate about refugee and asylum seeker rights ever since the
Tampa crisis in 2001 and… I… thought that the physicality of the E-flat clarinet, being a
small instrument, gave me this idea that it would be the perfect advocate for being a
refugee, (Dean, Dec 16, 2014).
The concertino begins with the piccolo alone, performing a three-bar figure that is then
rhythmically and harmonically expanded. (See Figure 5). This marks the beginning of what Dean
49
considered to be the refugee’s struggle. The first section of the work represents the interaction
of three main entities, the general public, a governing body and a refugee. The winds and piano
act as the general public, a bustling and intricately woven network that seem to exist
autonomously, as if in their own world, continuing duties as usual. They are seemingly unaware
of the complexity and ruthlessness that is implemented by the lower winds, brass and
percussion, who Dean sees as portraying the government.
Figure 5: Dean, No Exit, bars 1-5
Throughout the first section the orchestration gently expands, with sequential layering from the
second flute, piano, cor anglais and marimba, which generates a complex polyphonic texture
driven by a highly mixed array of seemingly unstructured compound and simple metres. Dean
stated that
…the flutes, flutes/piccolos, cor Anglais, upper voices, piano and the marimba. They
really represent the general public, which just go on regardless and are seemingly
untouched by this aggression and ridiculous notion that this is our country and we
choose who comes into our country and how they arrive… (Dean, Dec 16, 2014).
In bar 22, the lower instruments of the orchestra abruptly interrupt this moderately ambiguous
sound world. The lower winds, brass, double basses and bass drum announce in unison the
government’s authoritarian and aggressive presence via a sharply accentuated and rhythmically
unsettling motif. (See Figure 5.1).
50
Figure 5.1: Dean, No Exit, bars 22 – 24
This starkly dichotomous atmosphere is disbanded by the fortissimo entry of the solo E-flat
clarinet in bar 39, accentuating a concert ‘F’, which is repeated four times, as if restating its need
to be heard. The most recognisable theme that is carried throughout this work is shown in Figure
5.2. This theme is first performed in bar 45 by the E-flat clarinet. A feature of this theme is its
ornamentation with consistent use of graces notes, initially from a minor sixth below and
thereafter with either fifths or sixths. This identity continues as a common thread throughout the
piece, often echoed in the upper winds, but always in response to the E-flat clarinet.
51
Figure 5.2: Dean, No Exit, bars 43 -61
From here a far more complex conversation unfolds; a conversation that is predominately driven
by the E-flat clarinet. An example of this is given in Figure 5.3. Here the upper winds imitate
material from the E-flat clarinet in the third beat of bar 63 in a displaced fashion, as if the general
public is processing information from the refugee’s side of the argument. Figure 5.3: Dean, No Exit, bars 63 – 66
The second part to this work features a scherzo-like duet between the E-flat clarinet and
marimba. Moderated by the marimba, the soloist flourishes in a series of ideas that seem to
recoil and unwind, as if improvising or searching. Greater clarity of expression is realised in bar
52
303 via a florid ascending series of quintuplets. (See Figure 5.4). This energy is consolidated by
the entire wind section in bar 307, affirming metaphorically the interactive relationship between
the general public and the refugee. (See Figure 5.5).
Figure 5.4: Dean, No Exit, bars 301 – 306
Figure 5.5: Dean, No Exit, bars 307 – 308
Adopting this material, the winds continue in an intense conversation, overshadowed by the E-
flat clarinet soaring in the upper part of its register. This continues until bar 329. From this
moment, Dean employs an aleatoric structure where the tri-focal argument reaches its peak. A
cacophony of sound is unleashed from the brass and percussion followed by the piano, upper
winds, bass clarinets with the ‘last word’ exclaimed by the E-flat clarinet. The physicality and
theatrical nature of this section exemplifies Dean’s general approach to composition. According
to the composer, most of the pieces he writes are conceived by imagining
53
… the physical situation of being in the performance or watching the performance.
So it had a lot to with me watching you play the E-flat clarinet but also what was surrounding that… I am kind of a visual composer in that regard, (Dean, Dec 16, 2014).
Bar 342 marks the start of the third section of No Exit. This section could be described as a
monologue for the E-flat clarinet. While evidently a cadenza of sorts, its nature is perhaps more
in line with an operatic recitative, seemingly a collection of internalised thoughts that develop into an almost unstoppable hysteria. Underpinned by the three basses performing pianissimo
harmonics and a muted trombone chorale, the timpani performs repeated ‘G’s’ separated by exactly three crotchets of silence between each impulse. This can only be described as
otherworldly, providing a wonderfully submerged murky and sinuous texture.
With a final outpouring from the E-flat clarinet the work concludes with the refugee evidently in
defeat. One last declamatory D major chord with an added sharpened tonic from the winds and a descending accented line from the brass and double basses draws the work to a close before
the marimba performed by both percussionists, consolidates the aftermath with an unresolved sotto voce chorale. Dean stated that
…the chorale was something that came very late in the day, I wasn’t sure how I was I was going to finish it, but I used an idea from James Macmillan, and his piece Raising
Sparks, which he wrote for the Nash Ensemble... (Dean, Dec 16, 2014).
In regards to writing for the E-flat clarinet, Paul discussed that he wanted to avoid the notion that “it can’t play a tune, and that it’s not just an instrument that a composer uses at the top of the
register to get something through”, (Dean, Dec 16, 2014). The sheer scale of this work is a testament to this ideology and what it demands of the clarinetist is immense. At 17 minutes in
length, the almost consistent passagework requires the player to embody great flexibility and agility across the instrument. This is exemplified in the passagework throughout the
recapitulation section of the first movement shown in Figure 5.6.
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Figure 5.6: Dean, No Exit, bars 120 -138
This example, like a lot of this work requires absolute coordination of the little fingers in both
hands and agility of left thumb ensuring consistent execution across the register ‘break’ at the
pace needed. Although this may seem relatively simple to execute on a B-flat clarinet, this type
of writing on the E-flat is vastly more difficult, requiring far greater rhythmic and preparatory
finger accuracy. This is exacerbated in the bars proceeding bar 384. Similar to figurations one
might find in the Carl Nielsen or John Corigliano clarinet concertos, this is perhaps the most
demanding finger work found in No Exit. (See Figure 5.7).
Figure 5.7: Dean, No Exit, bars 384 - 393
55
Given his experience as a virtuoso clarinet performer, Dean’s approached to articulation in this
work is, not unexpectedly, very clear and detailed. His passagework is riddled with varying
patterns of articulations, often stressing awkward moments and shifting emphasis within
constantly varying rhythms. (See Figure 5.8). For E-flat clarinet playing this is both highly
enjoyable and at times very risky given the compact nature of the key work on the smaller
instrument and the complex sequence of fingerings required.
Figure 5.8: Dean, No Exit, bars 279 -291
Dynamically, the E-flat clarinet part from the outset of the piece is required to perform in the
upper area of its capability. Dean doesn’t attempt to mask the timbre of the E-flat clarinet in any
way. The writing rather relishes in the distinctive quality of the sound produced by this
instrument, which without doubt enhances the narrative and the sense of struggle that are
implied. Score indications pertaining to dynamics however are generally minimal. In discussions
with Dean, he expressed that, aside from the dynamics marked, like de Jager, he considers
dynamic shape and variation to be largely at the discretion of the performer. The first rehearsal
provided a great deal of clarity in this area, particularly in regards to the first two sections of the
work where a greater volume and body of sound was necessary to match, and where possible
surpass, the sound produced by the chamber ensemble. Conversely, more dynamic freedom is
given in the recitative and concluding section of the work, where a much lighter orchestration is
employed. An interesting realisation, given the bold nature of the instrument, transpired through
the challenge of producing a delicate and supple sound that is necessary to achieve the
introverted and yearning character shown in Figure 5.9.
56
Figure 5.9: Dean, No Exit, bars 344 - 375
Collaboratively, the process with Dean was very straightforward. His unparalleled knowledge of the clarinet and its capabilities removed any necessity for discussions or amendments regarding
idiomatic writing for the instrument. In the interview Dean commented that
…it was a lot of fun to write and I wrote very quickly and very easily and I think it’s far from perfect because of that. But it was just a stream of consciousness. I tried to use
themes but I didn’t do a lot of planning I just let it write itself, (Dean, Dec 16, 2014).
In early 2013, Dean presented the first draft of the first section of the clarinet part with a sketching of the ensemble. Over the period of a year and a half extended versions of the original
draft surfaced, providing a great insight into the works construction and development.
Notes to the performer:
For the most part, the E-flat clarinet is treated in a highly virtuosic manner throughout this work. There is very little of the instruments’ register and dynamic range that is left untouched. This
raised a few issues regarding tone quality, approach to sound production and subsequent reed selection, managing embouchure stamina and organising fingering sequences particularly in
relation to stabilising troublesome intonation.
A significant portion of this work is spent in the upper region of a player’s dynamic range.
Although the E-flat clarinet is predisposed to a penetrating sound, producing a body of sound
57
that is flexible and complex while incorporating the largest array of harmonics possible is the
greatest challenge of this work. Also, due to the nature of the instrumentation it is easy for the passages written in the lower register of the instrument to be lost in the collective sound of the
ensemble. This is demonstrated in Appendix O: No Exit: Paul Dean – musical score (p. 79 - 80),
which shows the final bars of the aleatoric section, where the clarinet is last to enter and required to overcome the magnitude of sound presented by the ensemble. To assist with this, a
slightly more resistant setup, that is, using a harder reed size than normal, was needed to ensure greater thickness of sound and security in the louder sections whilst also providing stability and
a centered tone in articulated passages. This approach however also dramatically affected intonation. It is generally recognised that a slightly more resistant setup can potentially be less
flexible intonation-wise. However, in this case, the increased reed thickness, for the mouthpiece
(Greg Smith) and instrument utilised (Buffet RC Prestige) in this performance greatly assisted the intonation for the notes ‘E’ and above, shown in Figure 5.10, which otherwise, tend to be lower
than required.
Figure 5.10: Dean, No Exit, bars 93 -98
It is also noteworthy that, whilst experimenting with possible fingerings to play bars 96 and 97, which were rather treacherous initially due to the consecutive leap of a ninth, an alternate
fingering, which is shown in Figure 5.11, not only increased level of execution but also stability of
pitch at the volume required.
58
Figure 5.11: Dean, No Exit, alternative altissimo ‘E’ fingering diagram
Discrepancies in intonation around the ‘throat’ area of the instrument, specifically the pitches
ranging from concert ‘F’ to A-flat written on the lower half of the stave, are also challenging to
avoid in the last section of the concertino. Bars 344 – 352 and 423 – 456 in particular are worthy
of some attention in this regard.
The demanding musical language of this work required experimentation with a range of
alternative fingerings, particularly in the altissimo register of the instrument. This is exemplified in
Figure 5.12. This is the highest note utilised by Dean in this work and in several instances. The
most stable and ‘in tune’ fingering found for this note is issued in Figure 5.13.
Figure 5.12: Dean, No Exit, bar 318 – 326
59
Figure 5.13: Dean, No Exit, alternative altissimo ‘G#’ fingering diagram
It is also important to mention that during the performance the studio recording equipment failed
towards the end of the piece, subsequently losing a few minutes of first performance. Because
of this and relatively fortuitously, a recording session was held three weeks later. In this time
Dean took the opportunity, after hearing the recording to re-work certain areas of the piece.
Dean stated in the interview that,
I did re-write quite a large chunk of it and I think it’s a better piece because of it and
that’s basically because I hadn’t finished, there were certain things that I’d thought I
had done but I hadn’t before the first performance, (Dean, Dec 16, 2014).
The following section outlines the most notable additions and adjustments made to the E-flat
clarinet part with comparisons with the first version. The first minor alterations were made in bars
79 – 81 shown in Figure 5.14, bars 126 – 128 (Figure 5.15) and again in bar 145 (Figure 5.16).
Figure 5.14: Dean, No Exit, bars 79 - 81
First version:
60
Second version:
Figure 5.15: Dean, No Exit, bars 126 – 128
First version:
Second version:
The most significant change occurs in the orchestra between bars 123 – 145. Here a large
amount of material was added to the piano, cor anglais, flutes and marimba parts where there originally wasn’t any at all. Given the extent of this re-working please refer to the score in
Appendix O: p. 31 – 37, for a more comprehensive view.
Other additional melodic detailing was added in bar 85 (Figure 5.16), bars 293 - 294 (Figure 5.17) and Bar 431 (Figure 5.18).
Figure 5.16: Dean, No Exit, bar 84 – 87
First version:
61
Second version:
Figure 5.17: Dean, No Exit, bars 292 – 294
First edition:
Second edition:
Figure 5.18: Dean, No Exit, bars 429 – 431
First version:
Second version:
These may be minor alterations in comparison to the additions made to the orchestration,
however they are consistent with Dean’s initial intention to continuously develop the character of
the protagonist.
62
This work is both a significant contribution to this research and to the E-flat clarinets’ repertoire.
Concertos for this instrument are rare. To have a work that provides both a powerful and visceral
narrative while requiring a virtuosity that showcases what the instrument can do was a
fundamental aim of this initiative. It was a privilege to perform this piece and work alongside
Dean, who has been a phenomenal mentor to me over many years.
.
63
Conclusion This research set out to generate new repertoire for the E-flat clarinet by Australian composers.
The goal was to subsequently prepare and perform these works to inform a discussion regarding
how these selected composers write for this instrument and exploit its capabilities.
At the conclusion of this research, ten new works had been created for varying instrumental combinations but all featuring the E-flat clarinet in a significant way. This document has provided
detailed insights into five of these works, highlighting notable experiences relating to the preparation and study of these pieces, drawing on data retrieved from interviews with the
composers and recordings of the performances.
The compositions are worthy contributions to the repertoire that provide an array of challenges
for the performer to overcome and in doing so could assist players attain a greater level of virtuosity and understanding when playing this instrument. Perhaps the most important
achievement of this research was the creation of seven unaccompanied works for the E-flat clarinet. This more than doubles the available repertoire for this instrument by Australian
composers.
It is apparent that the composers all conceive the character of the E-flat clarinet in different ways
though all demonstrated its agility and flexibility. All works except for No Exit and the Under the
Cloak of Righteousness employed extended techniques, which interestingly are the two works
composed both by clarinettists. A common link between the works was the exploration of the
instrument in a lyrical manner. Other common traits include the use of unusual and diverse instrumentation. Of the composers, two are relatively well established on the Australian scene
receiving frequent commissions. The others, although emerging composers, have contributed
very unique and distinctive works worthy of our consideration.
The time required to prepare a new work for performance is immense. It is also a relatively daunting process, where the performer is entrusted to present well-crafted and informed
interpretations of works without a performance history. With six new works being prepared for performance in a single recital, I was concerned that the performances may not be executed at
the standard desired. Beyond wanting to convey the intentions of the composers convincingly, I
recognised that quality of the performances would directly influence the way the audience may receive the music and that this, in turn, may affect the potential for future performances of these
Justin Beere Developing Repertoire for the E-Flat Clarinet by Australian Composers 64
works. My trepidation was compounded by the fact that this was the first full recital I had ever
undertaken exclusively on the E-flat clarinet.
It is also important to note that a project of this magnitude could not have happened without the support and generosity of many gifted and dedicated musicians who were willing to share their
knowledge, skill and time. This performance required a team of 22 musicians that, if organised outside an institution such as the Australian National Academy of Music might not be feasible.
In hindsight, this relatively ambitious project has developed valuable skills and knowledge that I will draw on in the future. Beyond the musical challenges, the project involved managing the
logistics of a project of this size (for example organising the personnel, parts and rehearsal schedules) as well as working and collaborating with composers and concert promotion. As well
as this, the research has set up the infrastructure for a national composition competition that focuses on developing solo repertoire for the E flat clarinet and which has the potential to be
adapted to other relatively neglected instruments.
Idealistically, it is hoped that this research will generate further interest from Australian
composers to write for this instrument as well as generating a more widespread awareness of the repertoire for enthusiasts of the E-flat clarinet. Furthermore, with a larger body of music
accessible for students and educators to explore on this instrument, which is so frequently used in the profession, perhaps a more rigorous model for teaching and studying this instrument may
be implemented within Australian tertiary music institutions. This type of project also supports composers of today by ensuring a performance of their music, and thereby providing the
opportunity for performers and audiences to hear and engage with a composer’s work. Live
engagement with a composer’s music often directly affects whether his/her work is programmed in future concerts or neglected altogether. If nothing else, this research has highlighted a path
that could be undertaken in order to engage composers and collaborate with them in a positive way to initiate new repertoire.
The outcome of this research has exceeded my initial expectations. I feel privileged not only to
have had works written for me but also to have had the invaluable opportunity to work directly with composers and to hear their thoughts and intentions regarding the music they’ve created.
In closing, the experiences and knowledge gained from the relationships built and developed
during this course of this project are far beyond what can be expressed in this document. It is for this reason that this research aspires to encourage further initiatives focussed on the
development of Australian music.
Justin Beere Developing Repertoire for the E-Flat Clarinet by Australian Composers 65
LIST OF REFERENCES Australian Music Centre: Breaking Sound Barriers. (2009). Retrieved from http://www.australianmusiccentre.com.au Beere, J. (2014). Recital in Es (Recorded by Tilman Robinson). [CD]. Melbourne, Australia: ANAM. (31/10/2014) Beere, J. (2014). Recital in Es (Recorded by Tilman Robinson). [DVD]. Melbourne, Australia: ANAM. (31/10/2014) Beere, J. (2014). Under the cloak of righteousness. [Musical score]. Unpublished. Brymer, J. (1976). Clarinet. London: Macdonald & Jane’s. Creswell, J. W. (2009). Research design: Qualitative, quantitative, and mixed methods approaches (3rd Ed.). Thousand Oaks, Calif.: Sage Publications. Dean, P. (2014). No exit: Concertino for E-flat clarinet and chamber orchestra. [Musical score]. Unpublished. De Jager, P. (2013). Zombie meadows. [Musical score]. Unpublished. Farquhar, J. (2003). The history of the E-flat clarinet – with a bibliography of solo and chamber works written for the E-flat clarinet (Unpublished Masters dissertation). Queensland Conservatorium Griffith University, Brisbane, Queensland, Australia. Gardiner, K. M. (2002). An annotated bibliography of twentieth-century solo and chamber literature for the E-flat clarinet (Doctor of Musical Arts, Ohio State University, Ohio). Retrieved from Proquest Dissertations and Theses. (UMI 3048989) Hoeprich, E. (2008). The clarinet. New Haven: Yale University press. Laing, M. (2014). Monologue. [Musical score]. Unpublished. Myburgh, J. (2014). “Chronicle” I. [Musical score]. Unpublished. Robson, C. (2002). Real world research: A resource for social scientists and practitioner- researchers. Oxford: Blackwell Publishers. Pino, D. (1980) The clarinet and clarinet playing. New York: Scribners & Sons. Redshaw, J. G. E. (2007). Chamber music for the E-flat clarinet (Doctor of Music Arts, University of Arizona, Arizona). Retrieved from Proquest Theses and Dissertations. (UMI 3283806) Rendall, F. G. (1971). The clarinet (3rd Ed). New York, NY: W. W. Norton & Company. Stake, R. E. (1995). The art of case study research. London, UK: Sage Publications. Tschaikov, B. (1995). The high clarinets. In C. Lawson (Ed.), The Cambridge companion to the clarinet (pp. 43–56). Cambridge, UK: Cambridge University Press.
Justin Beere Developing Repertoire for the E-Flat Clarinet by Australian Composers 66
Bibliography
Birsak, K. (1994). The clarinet: A cultural history. Buchloe, Germany: Druck und Verlag Obermayer GmbH. Denzin, N. K., & Lincoln, Y. S. (2008). Collecting and interpreting qualitative materials. Thousand Oaks, Calif.: Sage Publications. Hadcock, P. (1981). Orchestral studies for the E-flat clarinet. Cherry Hill, NJ: Roncorp Publications. Lawson, C. (2000). The early clarinet: A practical guide. Cambridge, UK: Cambridge University press. Leavy, P. (2009). Method meets art: Arts-based research practice. London: The Guilford Press. May, T. (Ed.). (2002). Qualitative research in action. London, UK: Sage Publications. Opperman, K. (1960). Repertory of the clarinet. New York, NY: Ricordi & Co Publishers. Rice, A. R. (1992). The baroque clarinet. Oxford, UK: Clarendon press. Richards, M. E. (2012). Chapter VII - e-flat clarinet. Retrieved from http://userpages.umbc.edu/~emrich/chapter7.html National Health and Medical Research Council. (2002). Human research ethics handbook. Retrieved October 10, 2013 from http://www.nhmrc.gov.au/_files_nhmrc/publications/attachments/e42.pdf National Library of Australia: Trove. (2013) Retrieved from http://trove.nla.gov.au/general/completedlist
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Appendices
Appendix A: Letter to potential participants.
Dear Composer X,
My name is Justin Beere and I am currently a clarinetist at the Australian National Academy of music. I
am undertaking a Masters research project in Australian Repertoire for the E-Flat clarinet. The reason
for this is there is only a limited amount of solo and chamber repertoire (excluding clarinet choirs)
available that significantly highlights the instrument by Australian composers.
I am hoping to obtain at least 5 works by different composers. Each work would be performed in public
recitals at ANAM, recorded for documentation and discussed in my thesis. It is my hope
that each work would feature the instrument in a way that resonates most fluently with each
composers compositional style, regardless instrumentation or format in an attempt to build on the E-
Flat clarinets repertoire by Australian composers whilst developing its musical role beyond the
orchestra, military or wind ensemble. I am seeking a variety of pieces, so a work for a small chamber
ensemble, or a work with piano or strings or even E-Flat clarinet unaccompanied is welcome.
It's really all about shedding a new light the instrument away from the preconceived mischievous or
playful military and orchestral associations and giving it life within Australian composition.
There is no required length for the work. Anything from 2 - 10 minutes is perfectly acceptable. I am
looking for works that could be completed by the end of January 2014 in order to facilitate preparation
time to learn the pieces before a performance in March/April. This would allow sufficient time to
meet/discuss with you your intentions and aspirations for the piece. This timeline is not fixed however.
I understand this is a significant commitment and would like to remunerate you accordingly, however I
am still searching for funding at this stage. If on the off chance you were interested in being a part of
this project or if you have any students that are suitable and might be interested in composing with this
instrument in mind I would really love to hear from you.
If you have any questions please don't hesitate to ask. I really appreciate you time.
Kind regards,
Justin Beere
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Appendix B: Ethical Clearance
GRIFFITH UNIVERSITY HUMAN RESEARCH ETHICS COMMITTEE 05-Mar-2014 Dear Mr Beere I write further to the additional information provided in relation to the conditional approval granted to your application for ethical clearance for your project "NR: Australian Repertoire for the E-Flat Clarinet" (GU Ref No: QCM/27/13/HREC). This is to confirm receipt of the remaining required information, assurances or amendments to this protocol. Consequently, I reconfirm my earlier advice that you are authorised to immediately commence this research on this basis. The standard conditions of approval attached to our previous correspondence about this protocol continue to apply. Regards Dr Kristie Westerlaken Policy Officer Office for Research Bray Centre, Nathan Campus Griffith University ph: +61 (0)7 373 58043 fax: +61 (07) 373 57994 email: k.westerlaken@griffith.edu.au web: Cc: Researchers are reminded that the Griffith University Code for the Responsible Conduct of Research provides guidance to researchers in areas such as conflict of interest, authorship, storage of data, & the training of research students. You can find further information, resources and a link to the University's Code by visiting http://policies.griffith.edu.au/pdf/Code%20for%20the%20Responsible%20Conduct%20of%20Research.pdf PRIVILEGED, PRIVATE AND CONFIDENTIAL This email and any files transmitted with it are intended solely for the use of the addressee(s) and may contain information which is confidential or privileged. If you receive this email and you are not the addressee(s) [or responsible for delivery of the email to the addressee(s)], please disregard the contents of the email, delete the email and notify the author immediately
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Appendix C: Informed consent package.
Australian Repertoire for the E-Flat Clarinet INFORMATION SHEET
Research Team: Supervisor/Chief researcher: Dr. Stephen Emmerson Student researcher: Justin Beere School(s) / Centre(s) ANAM/GUQC Contact Phone 0406 194 748 Contact Email justin_beere@hotmail.com
The research This student-based research project aims to discuss the body of solo and chamber repertoire by Australian composers for the E-Flat clarinet. It is intended that this project will investigate, discuss, perform and record existing and new works by Australian composers in order to further profile the instrument within Australian composition and expand on its current usage in ensemble formats. At its core, this research seeks to gain greater insight into how selected contemporary Australian composers (composers currently working or studying in Australia) write for the E-Flat clarinet. In order to acquire relevant information pertinent establishing and accurate overview of each composition, the project will conduct interviews in a semi-structured manner with individual composers regarding their work as well as provide a score analysis of each work, a review of the preparation and challenges faced learning each work and a brief discussion of the outcome/recorded performance.
Participant Involvement Participation in this project involves the performance, recording (for education purposes only) and academic discussion of a work composed by the participant for the E-Flat clarinet. As a part of this research the Participant will allow this research to invesitgate, discuss, perform and record a work they composed for the E-flat clarinet. They will also be required take part in an interview pertaining to their composition, the performance and general outcome. This interview will occur at a time agreed to by the participant and last for approximiately twenty minutes. The participant is not obliged to commit to the project any more than the requirements listed above unless the participant/composer wishes to do so.
Research outcomes This research hopes to generate further interest in composing for the E-flat clarinet, whilst adding to the existing body of literature and repertoire. The research aspires to explore/investigate numerous new works that expand its performance functionality and potential. More specifically the research aims to ignite further interest in the E-Flat clarinet within Australian composition and performance in the future. The broad range of composers participating in this project will inevitably provide a wide spectrum of musical stories and styles allowing for a thorough overview and comparison of each work contributed and their potential significance to the repertoire. It is also envisaged that this research may provide a broader awareness of the Australian works written for the E-Flat clarinet, with the intent that some may become a part of mainstream clarinet literature.
Confidentiality Identifiable data will be collected and it is hoped that participants will agree to be identified within the publication. Participants, however will be asked to give consent for their participation and indicate whether they are willing to be identified. Participants who may want to remain anonymous can do so upon request.
Participation is Voluntary Participation in this research is voluntary. Participants are free to withdraw from the study at any time.
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Audio-Visual Recordings An audio-visual recording will be made of the performance of the work submitted by the participant. This recording will be untilised to inform the discussion of the work within the research as well as a reference. Further to this, the recording will be made available to libraries and interested parties for reference and education purposes. No commericial gain will derive from the recording. Inquiries Participants seeking further information regarding the project are encouraged to contact Dr. Stephen Emmerson (s.emmerson@griffith.edu.au) or Justin Beere (justin_beere@hotmail.com).
Ethical conduct Griffith University conducts research in accordance with the National Statement on Ethical Conduct in Human Research. If participants have any concerns or complaints about the ethical conduct of the research project they should contact the Manager, Research Ethics on 3735 54375 or research-ethics@griffith.edu.au.
Feedback The participant will receive a sound recording of their work submitted for their perusal. Once the publication is completed the participant is also entitled to receive a copy of the written document that presents the overall findings and outcomes of the research.
Privacy Statement – disclosure The conduct of this research involves the collection, access and/or use of the participants identified personal information. As outlined elsewhere in this information sheet, the participants name and music will appear in the publication and recordings arising from this research. By participating in this research the participant permits their composition as submitted, to be printed, performed, recorded, filmed and discussed in the resulting document. The participant acknowledges that the composition submitted, including my score manuscripts and recordings remain as the intellectual property of the composer. The participant consent acknowledges that their involvement in this research is solely for the purpose of assisting the research in generating an academic and educational resource. Any additional personal information collected is confidential and will not be disclosed to third parties without your consent, except to meet government, legal or other regulatory authority requirements. A de-identified copy of this data may be used for other research purposes. However, the participants anonymity will at all times be safeguarded, except where you have consented otherwise. For further information consult the University’s Privacy Plan at http://www.griffith.edu.au/privacy-plan or telephone (07) 3735 4375.
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Australian Repertoire for the E-Flat Clarinet CONSENT FORM
Research Team
Supervisor/Chief researcher Dr. Stephen Emmerson, Student Supervisor Justin Beere Contact ANAM/Griffith University Queensland Conservatorium Phone: 0406194748 Email: justin_beere@hotmail.com
By signing below, I confirm that I have read and understood the information package and in particular have noted that:
• I understand that my involvement in this research will include providing a composition for E-Flat clarinet for performance and recording and a academic discussion within the publication.
• I have had any questions answered to my satisfaction;
• I understand the risks involved;
• I understand that there will be no direct benefit to me from my participation in this research.
• I understand that my participation in this research is voluntary.
• I understand that if I have any additional questions I can contact the research team;
• I understand that I am free to withdraw at any time, without explanation or penalty;
• I understand that I can contact the Manager, Research Ethics, at Griffith University Human Research Ethics Committee on 3735 4375 (or research-ethics@griffith.edu.au) if I have any concerns about the ethical conduct of the project; and
• I agree to participate in the project.
I agree to participate in the project.
I agree to inclusion of my personal information in publication or reporting of the results from this research.
Name
Signature
Date
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Appendix D: Composer’s Biographies
Paul Dean
Brisbane born and bred clarinettist Paul Dean, has made a name for himself as a soloist, recitalist, chamber musician and artistic director.
Paul is the founder and Artistic Laureate of the chamber ensemble Southern Cross Soloists,
the Bangalow Music Festival, SunWater and the Stanwell Winter Music School and has commissioned and premiered over 100 works, including his brother Brett’s clarinet concerto
Ariel’s Music and Andrew Schultz’s Clarinet Quintet.
Between 1987 and 2000 he was Principal Clarinet with the Queensland Symphony Orchestra and appeared as soloist with the Orchestra on over thirty occasions. Throughout the years,
Paul has performed with the Australian Chamber Orchestra, the Melbourne Chamber Orchestra, the Australian String Quartet, the Goldner Quartet, the Flinders Quartet, the Tin
Alley Quartet, and many of the major orchestras in Australia and New Zealand.
Paul’s recording of the Mozart clarinet works for the Melba label and the clarinet music of
English composer Benjamin Frankel for German label CPO have won high praise from critics around the world.
Performances and recordings of his brother Brett Dean’s clarinet concerto Ariel’s Music have
also gained international acclaim for both performer and composer. Ariel’s Music with the
Melbourne Symphony Orchestra conducted by Markus Stenz was released on ABC classics.
A recording of Paul performing this work was a finalist in the ARIA awards in 1999, and the piece was the Selected Work at the 1999 Paris Rostrum of Composers.
Retrieved from http://www.tso.com.au/soloist/paul-dean/
Peter De Jager
Peter de Jager is gaining a solid reputation as a pianist, harpsichordist and composer around Melbourne. He is a sought-after soloist and collaborative musician for standard,
early, and contemporary repertoire, and in addition has directed amateur music theatre productions and accompanied many cabaret performances at The Butterfly Club. He has
performed for the Astra Chamber Music Society, collaborated with the new music ensemble
Quiver, and continues to be company pianist for the contemporary vocal ensemble Aria Co, whose first season at the Melbourne Recital Centre in 2010 was a sellout success.
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His harpsichord work is varied, ranging from orchestral and chamber continuo playing, to
solo repertoire, be it contemporary, baroque, or arrangements of popular music, and he has helped develop and perform new ensemble works by David Chisholm and James Rushford
featuring the instrument. As a soloist or orchestra member, he has played with most of the major Victorian orchestras, including Orchestra Victoria and the Melbourne Symphony
Orchestra, and highlights include his performance of the demanding solo piano part of the Turangalila-Symphonie of Olivier Messiaen, in collaboration with the Melbourne Youth
Orchestra conducted by Fabian Russell, and, in 2010, the solo celeste part in Elliott Gyger's
Angels and Insects with the University of Melbourne Chamber Orchestra conducted by Andrew Litton. Peter has a significant and long-standing association with the Australian
National Academy of Music. He was a student there from 2005 to 2008, first as part of their Young Academy program, and then as a full-time student. He is currently on faculty as an
associate artist, and in 2012 was resident emerging composer, with works of his to be performed by ANAM students throughout the year.
Peter is beginning to make his mark overseas, participating in the 2009 and 2010 Lucerne Festival Academy, where he was accepted from applicants worldwide, playing under the
baton and artistic direction of Pierre Boulez in contemporary orchestral, ensemble, and piano duo repertoire. In 2011, he traveled to North Adams, Massachussets, for the annual
Bang On A Can Summer Festival, enjoying three weeks of intensive contemporary music making with a select group of young musicians from around the world.
In May 2011, Peter was awarded first prize at the first Australian International Chopin Competition, held at the Australian National University in Canberra, an event which appealed
to him because of his broad interest in historical performance practice, in this instance that of the romantic performing tradition.
Retrieved from http://www.anam.com.au/2013-faculty/peter-de-jager
Paul Kopetz
A latecomer to the art of composition, Paul Kopetz has been writing music only since 2008. He is a graduate of the University of Melbourne, Monash University, The Victorian College of
the Arts and the Rotterdam Conservatorium. Before turning his attention to composition he worked mainly as a free-lance clarinettist/bass clarinettist, saxophonist, conductor, arranger
and educator. Since 2008 Paul’s compositions and arrangements have been performed in the
USA, Hong Kong, Japan, Holland, Italy, Netherlands, China and Poland. His eclectic and highly emotive style aims at a synthesis of Pop Music idioms with traditional and
contemporary Classical art music – exploration of rhythmic patterns in text and contrapuntal
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structures being the main focus. He is particularly interested in programmatic chamber music
and working with voice.
Paul’s chamber music has been awarded prizes in Austria, Italy and the USA. His works have been premiered by festival ensembles, recording artists, large and small chamber groups as
well as internationally acclaimed soloists. His recent compositions include “Axolotl Rag” for brass quintet, “Fort VII” for choir a cappella, “Antipodean Clerihews” for voice and small
chamber ensemble, and “In Transparency, Worlds Are Created” for string quartet.
Being a featured composer and “Musician In the Classroom” in the In-Schools Program run
by Musica Viva Australia reflects Paul’s passion for educating young musicians. A life-long learner himself he is currently doing his PhD in Music Composition at the University of
Queensland.
Paul and his wife Rianne reside in beautiful Brisbane, Australia, and his interests outside of
music include travel, sport, fishing, reading crime fiction and crossword puzzles.
Matthew Laing
Matt Laing completed a Bachelor of Commerce/Bachelor of Music with Honours in 2011 from the University of Melbourne, learning viola from Helen Ireland and Paul McMillan. He
was the recipient of the 2011 Kate Flowers Memorial Scholarship, won the university's chamber music competition (2011) and a concert class prize for Brett Dean's solo viola work
Intimate Decisions.
Matt was Principal viola of the Australian Youth Orchestra in 2011, has played with
Orchestra Victoria, and was part of the inaugural Australian World Orchestra Project in
August 2011. Matt has appeared as soloist with the Consort of Melbourne, and has been
broadcast as soloist, chamber musician and orchestrally on 3mbs and ABC.
Josten Myburgh
Josten Myburgh is a 20 year old third year student composer at the Western Australian Academy of Performing Arts. He has studied under Perth-based composers Lindsay Vickery
and Stuart James, as well as the Palermo & Torino based Domenico Sciajno, and his musical output includes notated chamber ensemble works, sound art installations, improvisation
systems, lengthy works for electronic playback and collaborations with video and
contemporary dance artists. His present work is currently concerned with juxtaposition of disparate materials, stasis of dynamic levels (typically very quiet or very loud), and how both
listeners and performers relate to unconventional scores. As a performer, he has premiered works by Alvin Curran, Lindsay Vickery, Cat Hope and Freya Zinovieff, and has toured
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internationally through Europe with Decibel New Music Ensemble, performing the music of
John Cage and Giacinto Scelsi, as well as a program of Australian works featuring his piece
“UNAWARE_”. He is currently working as a curator for Tura New Music's 2014 “Club Zho”
series, as well as performing regularly as a solo performer, with improvisation duo Mr
Government, and as part of Decibel.
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Appendix F: Recital in Es program notes
ANAM Solo Recitals Season 5
Justin Beere, E-flat clarinet 3pm Friday 31st November 2014
Paul Kopetz Leprechaun for solo clarinet (2013)
Justin Beere Under the Cloak of Righteousness for Septet (2014)
Flute: David Shaw Clarinet: Justin Beere Bassoon: Chris Martin Violin 1: Emma Buss Violin 2: Imogen Eve Viola: Katie Yap Cello: Sam Payne
Josten Myburgh “Chronicle” I for clarinet & piano body (2014)
Winner of ComposE Composition Competition 2014
Peter de Jager Zombie Meadows clarinet & string quartet (2014)
Viola I: Katie Yap Viola II: Elliot O’Brien Cello I: Alexandra Partridge Cello II: Sam Payne
Matthew Laing Monologue for solo clarinet (2014)
Paul Dean No Exit Concertino for E-flat clarinet and chamber orchestra (2014)
Orchestra: Flutes, David Shaw and Tamara Kohler, Oboe/Cor Anglais, David Reichelt, Contrabassoon, Chris Martin, Bass Clarinet Lloyd Van't Hoff and Nicholas Evans, Trombone Ben Lovell Greene and Iain Faragher, Bass Trombone, Elijah Cornish Piano, Aidan Boase, Double Bass Rohan Dasika, Jono Coco, Chris Bainbridge, Percussion Kaylie Melville and Hugh Tidy. Conductor: Paul Dean
Durations: 3’ – 9’ – 4’ – 5’ – 4’– 20
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Recital in Es
The program before you is the culmination of tremendous artistic work by five Australian composers to feature the E-flat clarinet. This recital also realises research I have undertaken over the last two years into the development of repertoire by Australian composers for the E-flat clarinet. I feel very privileged to be giving the first performances of these works and beyond grateful for the musical prowess and commitment of the composers and their enthusiasm to be involved the project. I would like to thank them for their music and their stories. I would also like to wholeheartedly thank the wonderful ANAM musicians who have so bravely given their time, patience and admirable skill to perform these works with me.
For the instrument I have the joy of playing on today, I would like to sincerely thank Jan Grant, Prof. Jeffrey Rosenfelt, Sieglind D’Arcy, Jack & Robyn Chapman, Elise Callander, Phillip Cameron, Joy Connolly and Janis and Robert Kelly for their extremely generous financial support, without whom this would not have possible. I am also highly grateful for the Queensland Clarinet and Saxophone Society and their sponsorship of the 2014 ComposE Composition Competition for tertiary composition students to generate new works for this somewhat neglected instrument. Finally I would like to thank my teacher David Thomas and supervisor Dr. Stephen Emerson for their continuing guidance.
Leprechaun – Paul Kopetz
A latecomer to the art of composition Paul Kopetz has been writing music since 2008. He is a graduate of the University of Melbourne, Monash University, The Victorian College of the Arts and the Rotterdam Conservatorium. Before turning his attention to composition he worked mainly as a free-lance clarinettist/bass clarinettist, saxophonist, conductor, arranger and educator. Since 2008 Paul’s compositions and arrangements have been performed in the USA, Hong Kong, Japan, Holland, Italy, Netherlands, China and Poland. His eclectic and highly emotive style aims at a synthesis of Pop Music idioms with traditional and contemporary Classical art music – exploration of rhythmic patterns in text and contrapuntal structures being the main focus. He is particularly interested in programmatic chamber music and working with voice. This brief showpiece is an adaption of a work previously written for the Violin in a larger suite, titled “Mythical Creatures”, written for chamber ensemble and voice.
Under the Cloak of Righteousness – Justin Beere
In asking many composers to write for the E-flat clarinet, it occurred to me that it was only fair that I contribute in a “similar fashion”. I can’t say the musical result is in any way breaking new ground or attempting to generate innovative and unforseen musical textures, sounds or landscapes, but it is by definition a composition in “similar fashion”. I say this because during the works infancy I looked to the scores of composers with sound worlds I constantly find myself lost in; Ravel, Pärt, Vasks, Bartok, Mendelssohn, Beethoven, Richard Strauss and Mahler to name too many. My goal, in essence was to unearth as many compositional techniques as I could comprehend and incorporate them to support my own melodic and harmonic material, if there is such an ownership. Nevertheless the work you’ll hear today is a result of my discoveries.
Scored for flute, E-flat clarinet, bassoon and string quartet, Under the Cloak of Righteousness is musical tale of my daily interaction with social righteousness. Although it may infer religious undertones, its depiction envelops a more universal outlook. As a through-composed work, it begins with a description of a first meeting, an initial reaction that is torn between allure and warning. As the interaction blossoms each party discovers more of its counterpart, its presence, intentions and reasoning. Righteousness takes a moment to convey it’s moral, unconditional love and kindness. Not truly convinced, curiosity pervades and the veil of righteousness falls. Exposed and frightened righteousness scrambles for safety. The aftermath paints a reflection on the well-intentioned outlook of righteousness, which is led by the viola, however remnants of its darkness lie in wait. Finally reconciled
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with their differences and an appreciation to co-exist, a chorale concludes the piece with a sentiment of hope for accepted social diversity.
“Chronicle” I – Josten Myburgh (Winner of ComposE Composition Competition 2014)
“Chronicle” I' is a piece which attempts to transfer the influence of post-internet absurdity into a physical experience. The piece borrows its structure from the first two minutes of a video by an acquaintance of mine, Jon Poczciwinski, entitled “The chronicles of pimple joe (part 1).” This video belongs to a genre called “YouTube Poop”, which is defined by Professor Michael Wesch as consisting of "absurdist remixes that ape and mock the lowest technical and aesthetic standards of remix culture to comment on remix culture itself." Rather than assuming a mocking tone, I instead focus on the bizarrely sophisticated use of crude techniques that is present in this particular video – glitching, reordering of frames, separation of the audio and video streams, superimposition and more are used in context with reprises of fragments to maintain structural integrity whilst the video moves to extreme far out points. To translate this to music, I categorise the audible, visible and 'referential' streams separately and run musical ideas through transformations defined by these categories. Through this, gesture, pure tone, the performer's voice, rhythm, etcetera, functionally become one and the same - by undergoing these transformations, a single note might later become a physical gesture, a rhythmic series of noises or a virtuosic run. Because of this, though there is no real overarching narrative direction; the myriad of micro-narratives implies some sort of lattice structure with a network of bonds between each moment. When performed, the piece essentially distils some form of order out of digital chaos - it returns the digitally ravaged video to the form it originated from, that being a single person communicating with an audience. This time, however, it is instructed in part by the strange processes that it is now ready to undergo again.
- Josten Myburgh Zombie Meadows – Peter De Jager
When the prospect of writing a short piece for E-flat clarinet presented itself, the first image that came to mind was one of piping Arcadian shepherds. But then I remembered the piercing astringency of the instrument's tone, and the scene shifted to an eerie night time landscape, with hulking figures lurking in the shadows. I chose the nonstandard string quartet (2 violas, 2 cellos) to offset the high register of the solo part. And so Zombie Meadows was born! This picturesque escapade takes the form of an abstract survival-horror scenario, and proceeds in three similarly proportioned "acts". The first, "Midnight Field", depicts an eerily still night, the aforementioned shepherd (or whatever the modern equivalent is) improvising his tunes, while the strange shuddering effects and the intermittent destabilizing of pitch hint at dark struggles ahead. In the second "act", "Siege", the zombie hordes swarm about the protagonist, and violent hammer blows suggest a battering ram at the rickety wooden door of a makeshift hideout. The final scene, "Infection" begins with one of the ensemble members becoming un-dead, and gradually infecting the others, who then blunder about with menacing cluster chords. The last to fall is the clarinet, and the piece ends with a texture I describe in the score as "twitchy corpse".
- Peter de Jager Monologue - Matt Laing
This monologue is a short, fleeting work that essentially imagines small ideas or fragments creating an internal conflict that feeds off itself to become something exponentially far more dramatic than really necessary or warranted. I wrote the work a few years ago initially as an extended improvisation for solo violin, before refashioning it for clarinet. I shelved it until I noticed Justin was looking for pieces, and it's in this quite different, shorter version for E-flat clarinet that the work eventually became coherent, perhaps owing to the instrument's brighter, less weighty sound.
This is the first public performance of a work of mine, so I owe a debt of gratitude to Justin for putting it on this program despite my complete lack of credibility, and thanks also to ANAM for taking this project on.
- Matt Laing
No Exit – Paul Dean
No Exit sonically depicts a refugee’s escape from tyranny, their unimaginable struggle and relentless will to survive, only then to be rejected asylum. Written for today’s performance, the through-
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composed concertino, that is, without separate movements, seeks to pay homage to the brave souls who have lost their life in an attempt to live and enjoy the world so many of us are afforded. Represented by the solo E-flat clarinet, the refugee exclaims in a dramatic fight to be heard against the chaos and stubborn natured social structure that is presented by the chamber orchestra. This explicit intensity and torment is exacerbated by the inner conflict present within the ensemble, where the winds and piano as if in their own world, continue duties as usual, unaware of the complexity and ruthlessness that is implemented by the lower winds, brass and percussion. The journey of these relationships is not too dissimilar from the multi-layered arguments and controversial solutions, or lack of, that continue to surround this global issue. Unresolved, this highly virtuosic work ends with a glimmer of hope, but not without the feeling that a humane resolution is distant reality. This is the second premiere of a work by Paul this week, with the performance of his first string quartet premiered by Flinders Quartet at the Melbourne Recital Centre. Thank you for being a part of today’s performance.
- Justin Beere
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Appendix G: Bibliography of solo and chamber works by Australian composers
Bibliography of solo and chamber works by Australian composers
Solo:
Butterly, Nigel: Music for the Fire on the Snow, Australian Music Centre, N.D.
Year of composition: Unknown Publisher: Australian Music Centre library number: Q 788.62/BUT 1 Notes: Handwritten edition, composed to accompany a performance of Douglas Stewart's play -The fire on the snow. Edwards, Ross: Ulpirra, Sydney: Australian Music Centre, 1993.
Year of composition: 1993 Duration: 2 minutes Commissioned: Jo Dudley Publisher: Australian Music Centre, library number: Q 788.36/EDW 1
Schultz, Andrew: After Figaro. Sydney: Australian Music Centre, 1985.
Year of composition: 1985 Instrumentation: Solo E-flat clarinet Duration: 4 minutes Publisher: Australian Music Centre Number: Q 788.36/EDW 1 Gifford, Helen: Parvati – Celebration of the Apsaras. Melbourne: Astra Publications, 2013.
Year of composition: 2013 Instrumentation: for A, B-flat and E-Flat clarinets alone. Duration: 6 minutes Written for: Craig Hill, celebrating his twenty years’ association with the Astra Chamber Music Society. First performance: Craig Hill (clarinets) on 10th of November 2013, Arts House, North Melbourne Town Hall. Formosa, Riccardo. Domino: clarinet solo. Sydney: Australian Music Centre, 1983. Year of composition: 1983 Instrumentation: Solo E-flat clarinet. Duration: 4 minutes First performance: Ros Dunlop, at the Eugene Goossens Hall, ABC Studios, Ultimo in Sydney, 1993. Recording: “Domino” published by HEL Music in 1997, [compact disc 001] with the recording taken from the 1993 performance. Available on loan from the Australian Music Centre, CD 406. Notes: Handwritten edition Publisher: Australian Music Centre, library number: q 788.62/FOR 1
E-flat clarinet and one instrumentalist:
Gyger, Elliot: Eulogy. Sydney: Australian Music Centre, 1991.
Year of composition: 1991
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Instrumentation: E- Flat clarinet and piano. Duration: 2 minutes First performance: Catherine Playoust (clarinet), Simon Docking (piano) on the 20th of August 1993. Old Darlington School, University of Sydney.
Publisher: Australian Music Centre library number: 788.62/GYG 2
Shanahan, Ian: Cycles of Vega. Sydney: Australian Music Centre, 1990.
Year of composition: 1990 Instrumentation: E-flat clarinet and percussion Duration: 11 minutes Recording: “Shoalhaven Suite”, Jade Records [JADCD1087] – Cycles of Vega was recorded on the 10th January 1992 at the Sydney Conservatorium of Music. Publisher: Australian Music Centre, library number: Q 785.5612/SHA 1 Love, Karlin Greenstreet: Clarinet Quartet for Vasco Pyjama, Sydney: Australian Music Centre, 1991.
Year of composition: 1991 Instrumentation: E-flat clarinet, two B-flat clarinets and a bass clarinet Publisher: Australia Music Centre, library number: 78586214/LOV 1 Love, Karlin Greenstreet: Emerald Boa, Sydney: Australian Music Centre, 1997.
Year of composition: 1997 Instrumentation: E-flat clarinet, B-flat clarinet and a bass clarinet Publisher: Australia Music Centre, library number: 78586214/LOV 2 Morgan, David: Voyage into Solitude, Op. 72, Sydney: Australian Music Centre, 1983.
Year of composition: 1983 Instrumentation: E-flat/B-flat/A/Bass/Contrabass clarinets and F bassett horn clarinet (one player) and vibraphone/tam- tams/brass/chimes/glockenspiel/suspended/cymbals/bass drum/gong/marimba/xylophone/toms/triangle/hi-hat/tubular bells/finger cymbals and tubophone (one player) Movements: I – Ms. Yim and Mr. Yang, II - Mr Yang’s Nessie, III - Angelus, IV - And All, V And No Bird Sings. Publisher: Australian Music Centre, library number: Q 785.561/MOR 1
Small ensemble works: three to fifteen players
Cary, Tristram: Family Conference, Sydney: Australian Music Centre, 1981.
Year of composition: 1981 Instrumentation: E-flat/B-flat clarinet, B-flat clarinet, B-flat/bass clarinet and bass clarinet. Publisher: Corrie Music and Australian Music Centre, library number: 785.86214/CAR 1
Cronin, Stephen: Blow: for wind octet. Sydney: Australian Music Centre, 1994.
Year of Composition: 1994 Instrumentation: Two oboes (doubling English horn), two clarinets (1- E-flat, B- flat, bass: 2 B-flat and bass), two bassoons, two horns. Duration: 18 minutes. Dedication: "to Matthias Arter and Octomania"
Publisher: Australian Music Centre, library number: Q 785.4318/CRO 1
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Davies, Timothy: Three Pieces About a Cat Named Amoxil. Sydney: Australian Music Centre, 1995.
Year of composition: 1995 Instrumentation: E-flat/B-flat clarinet, violin and piano. Movements: I - Tissues aren't for cats, II - The soft furry purry thing, III - Cat's tango. First performance: Kate Gilbert, Marianne Rothschild, Stefan Mehlis in April 1997. Melba Hall, University of Melbourne. Publisher: Australian Music Centre, library number: 785.2413/DAV 1
Dench, Chris: Driftglass: for solo percussion and five amplified instruments. Sydney: Australian Music Centre, 1990.
Year of Composition: 1990 Instrumentation: Flute, piccolo, E-flat clarinet, tenor/bass trombone, guitar, double bass, percussion Duration: 10 minutes Dedication note: Dedicated to Daryl Buckley and Liza Lim. Commission note: Commissioned by Elision Ensemble with funds provided by Australia Council. First performance: Elision Ensemble and Sandro Gorli on the 17th of March 1991. Beckett Theatre, Melbourne Recording: “Ik(s)land[s]” – Australian Music Centre CD 1479. 'Driftglass' recorded live at the Malthouse Theatre, Melbourne on 17th of March 1991.
Gyger, Elliot: The Poet’s Foucault: nine pieces for three musicians. Sydney: Australian Music Centre, 1991.
Year of composition: 1991 Instrumentation: Trio for soprano voice, E-flat clarinet and harpsichord. Movements: I - And the linden trees quiver (sop, cl, hpd), II - From the heart of dawn (sop), �III - Thou sinister albatross (cl), �IV - Death, thy victory (sop, hpd), �V - I offer thee my life (cl, hpd), VI - The rubber plant is free (sop, cl, hpd), �VII - The sistrum sounds (hpd), �VIII - I count the nights (sop, cl, hpd) and �IX - The hoopoe awaits me (sop, cl). Duration: 12 minutes First performance: Jane Edwards (soprano), Catherine Playoust (clarinet), Simon Docking (piano) on the 14th of May 1994. Old Darlington School, University of Sydney. Publisher: Australian Music Centre, Library: Q 783.66542/GYG 1
Gyger, Elliot: Magnetic Lines. Sydney: Australian Music Centre, 1992.
Year of composition: 1992 Instrumentation: Alto flute, E-flat clarinet, vibraphone and violin. Duration: 4 minutes First performance: Seymour Group on the 21st September 1992. Belvoir St Theatre, Sydney. Publisher: Australian Music Centre, library number: 785.5414/GYG 1
Gyger, Elliot: La mer aux miroirs crevés: for nine players. Sydney: Australian Music Centre, 1996.
Year of composition: 1996 Instrumentation: Piccolo (doubling flute), bass clarinet (doubling E flat clarinet), oboe (doubling oboe d'amore), piano, harp, percussion, violin, viola, cello. Duration: 23 minutes Movements: Prelude - Movement 1, Interlude - �Movement 2, Postlude - Movement 3
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First performance: Roland Peelman and the Hunter Sinfonietta on the 3rd of May 1996. Newcastle Conservatorium Hall.
Publisher: Australian Music Centre, library number: 785.2419/GYG 1
Gross, Eric: Australian Single Reeds: Seven Australian Folksongs for 3 Clarinets, 1990
Year of composition: 1990 Duration: 8 ½ minutes Instrumentation: Three clarinets (E-flat, B-flat, A or bass clarinet etc. as long as all
three are the same. Movements: I – Click go the shears, II – The derby ram, III The banks of the
condamine, IV – Are you there, Moriarity?, V – The stockman’s last bed, VI – Waltzing Matilda.
Publisher: P.J Tonger and Australian music Centre, library number: 785.86213/GRO1
Kats-Chernin, Elena: Cadences, derivation and Scarlatti. Sydney: Australian Music Centre, 1995.
Year of Composition: 1995 Instrumentation: Flute/piccolo, oboe, clarinet in E flat, horn in F, trumpet in C, trombone, tuba, percussion, harp, piano, violin, viola, cello, double bass. Duration: 14 minutes Commissioned: Sydney Alpha Ensemble with funds provided by Australia Council Performing Arts Board. First Performance: Sydney Alpha Ensemble and Roland Peelman at Eugene Goossens Hall, Sydney on the 1s of April 1995. Recording: “Clocks”, ABC Classics [4564682], 1997.
Publisher: Australian Music Centre, library number: Q 785.3219/KAT 2
McCombe, Christine: Threefold: Three Pieces for Three Clarinets, Sydney: Australian Music Centre, 1996.
Year of composition: 1996 Instrumentation: E-flat clarinet, B-flat clarinet and bass clarinet Commissioned: Phillipa Robinson Publisher: Australian music Centre, library number: 788.62/MCC 1 Rankine, Peter: From fire by fire for wind octet. Sydney: Australian Music Centre, 1989.
Year of composition: 1989 Instrumentation: Oboe/English horn, oboe, E-flat/B-flat clarinet, clarinet/bass clarinet, two bassoons, two horns in F. Duration: 18 minutes Commissioned: Queensland Wind Soloists. First performance: Queensland Wind Soloists on the 7th of August 1997. Gehrmann Theatre, Recording: “From fire by fire”, Australian Music Centre CD 112.
Publisher: Australian Music Centre, library number: 785.4318/RAN 1
Reeder, Haydn: Three-part invention. Sydney: Australian Music Centre, 1977.
Year of composition: 1977 Instrumentation: Flute (doubling piccolo), clarinet in E-flat, clarinet in B-flat (doubling bass clarinet), tenor saxophone, bassoon, 2 percussionists (2 Chinese drums, side drum, tom-toms, timpani, bongos, vibraphone, marimba, cymbal). Duration: 10 minutes First performance: Victorian Time Machine ensemble on the 11th of Aug 1981. Victorian College of the Arts, Melbourne
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Publisher: Australian Music Centre, library number: Q 785.561/REE 1
Reeder, Haydn: Two-part invention. Sydney: Australian Music Centre, 1979.
Year of composition: 1979 Instrumentation: for E-flat/B-flat clarinet, bass clarinet and tape. Duration: 12 minutes Publisher: Australian Music Centre, library number: Q785.86212/REE 1 Reeder, Haydn: Only the chameleon remains the same. Sydney: Australian Music Centre, 1979.
Year of Composition: 1979 Instrumentation: Flute (doubling piccolo), oboe, clarinet in Eb (doubling clarinet in A), clarinet in Bb, bassoon, trumpet, trombone, guitar, piano, violin, viola, violoncello, percussion (glockenspiel, xylophone, timpani, piccolo, slit drum).. Duration: 10 minutes Publisher: Australian Music Centre, library number: Q 785.3219/REE 1
Smalley, Roger: The narrow road to the deep north: a journey for baritone and six instrumentalists. Sydney: Australian Music Centre, 1983.
Date of Composition: 1983 Instrumentation: Baritone voice, piccolo/flute/alto flute, E-flat/A/bass clarinet, percussion, piano, violin and cello. Duration: 45 minutes Text by: Matsuo Basho Dedication: Peter Maxwell Davies Commissioned: By Fires of London with funds provided by Arts Council of Great Britain. First performance: by John Carewe, Brian Rayner Cook, Fires of London on the 29th of November 1983. Queen Elizabeth Hall, London. Notes: Handwritten edition.
Publisher: Australian Music Centre, library number: Q 783.8854/SMA 1 Thorn, Benjamin: Apochryphal Ants At, Sydney: Australian Music Centre, 1998.
Year of composition: 1998 Duration: 7 minutes Instrumentation: E-flat clarinet, three B-flat clarinets and a bass clarinet Publisher: Australian Music Centre, library number: 785.86215/THO 1
Yee, Adam: Zephania. Sydney: Australian Music Centre, 1996.
Year of Composition: 1996 Instrumentation: Piccolo, E flat clarinet, cor anglais, viola, alto trombone, bass clarinet, double bass, percussion (1 player). Duration: 22 minutes
Publisher: Australian Music Centre, library number: Q 785.5218/YEE 1
Concertos:
Gyger, Elliot: A Wilderness of Mirrors. Sydney: Australian Music Centre, 1996.
Date of composition: 1996 Instrumentation: Solo E flat clarinet, alto flute in G (also medium woodblack), cor anglais in F, bass clarinet in B flat (also 2nd E flat clarinet), bassoon, horn in F,
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trumpet in C, bass trombone (also small woodblock), celesta (also large tom-tom), percussion (1 player), 2 violins (2nd also large woodblock), viola, cello, double bass Duration: 20 minutes First performance: Gilles Plante, Le Nouvel Ensemble Moderne, Lorraine Vaillancourt on the 28th November 1996. Salle Claude-Champagne, Université de Montréal, Canada Recording: Performed by Arcko Symphonic Ensemble, Karen Heath, Timothy Phillips (non-commercial compact disc, available for loan from AMC). Publisher: Australian Music Centre library number: Q 785.5219/GYG 1
Harrison, Sadie E. The fourteenth Terrace, 2002.
Date of composition: 2002 Instrumentation: Solo E-flat clarinet/A clarinet, violin (2), viola, cello, Double bass, piano, percussion (players also vocalize) Publisher: Australian Music Center library number, 785.3418/HAR 1
Kats-Chernin, Elena: Concertino for violin and eleven instruments. Sydney, Australian Music Centre, 1994.
Date of Composition: 1994 Instrumentation: Solo violin, flute (doubling piccolo), oboe, clarinet in E-flat, bassoon (doubling contrabassoon), horn in F, trumpet, trombone, 2 percussion, piano, double bass. Written for: Ensemble Modern First Performance: Peter Rundel (conductor) and Ensemble Modern, unknown date. Publisher: Australian Music Centre, library number: Q 785.3219/KAT 1 Plush, Vincent: Florilegium III: a chamber concerto for solo clarinettist and ensemble, 1997.
Date of composition: 1997 Instrumentation: Solo clarinet (E-flat clarinet/B-flat clarinet/bass clarinet), flute, violin, viola, cello, piano (a female voice may recite an optional text at the commencement of the third movement. Movements: I The little train to Kuranda, II Sherbrooke Forest, III Mr Gershwin on Folly Pier (Mr Gershwin returns to Folly pier)
Duration: 21 minutes Publisher: Australian Music Centre library number: Q785.2416/PLU 1
E-flat clarinet and choir:
Gyger, Elliot: Out of your slepe. Sydney: Australian Music Centre, 2008.
Date of composition: 2008 Instrumentation: SATB choir and clarinet in E-flat Duration: 4 minutes Dedication note: Dedicated to Gary Ekkel, and the Newman College Choir. Written for: Newman College Choir First performance: by Newman College Choir, Gary Ekkel, Catherine Playoust on the 7th of December 2008. Newman College Chapel, University of Melbourne. Publisher: Australian Music Centre, library number: 782.5525/GYG 2
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Appendix H: Interview transcript – Matthew Laing
Interview Transcription
Matthew Laing
Interview was conducted on the 5th of January 2015 at the Australian National Academy of Music, Melbourne. Statement (Justin Beere): Let’s start by putting it on the record your thoughts on the piece itself, so what it’s about… how it came to be, basically. Response (Matt Laing): Yeah, well the piece I mean, I guess it’s a little bit like a study I guess. Um in so far as, I mean it sort of this started as just like a short violin work that came out of kind of improvised stuff that I had kind of been working on and then um I took a composition subject at Uni and pretty much changed the work for that to clarinet ‘cause that was the requirement. Um and that was for B-flat clarinet and it was … I dunno… I liked the piece at the time but also recognised that it was also a bit of a shit…[laughs]. So it was good actually, because I thought it like had potential but there was something about it that didn’t really work. So I sort of shelved it um but then when I saw that you had this competition coming up, um I thought maybe it would work as an E-flat clarinet piece. So I shortened it and then actually from what it started out as a clarinet piece to what it is now, it’s shorter and it’s a lot more concise than it was I think as well? Like um it structurally makes a lot more sense, there’s no part of it that’s, to me anyway, that is now um unnecessary. But I’m sure if I were come back to it in six months time, hear a recording, then there would be changes I’d want to make to it or blah blah blah, but that’s just where it is at the moment. Question (Justin): Was there a particular narrative in mind? Response: Um not, not specifically I mean that’s why the titles fairly vague: to call something a monologue, it’s not really programmatic or… its not really a… there wasn’t really kind of an external stimulus to it like, ‘cause the other works, like so the piece that I’m writing for um Georgia’s recital, is called The Paper Dolls, because there’s a text that I’m working from and then that’s kind of a depiction of that. And then for other things that I’ve written there’s been quite a clear external narrative where as this work is kind of a, yeah, it’s kind of like an internal monologue so it’s basically the progression of… it’s almost like a work that depicts kind of the thinking process about something that’s either stressful or kind of um not easy to sit with but it doesn’t really tell any specific stories if that makes sense, so it’s kind of abstract in a sense. So um yeah, so I mean um… Interviewer: So in that way, it um kind of works well for an E-flat clarinet, which was something new to you at that stage?
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Response: Yeah, certainly for, with how I imagined the work going, the, the fact that E-flat clarinet is such a… versatile is not the word… Interviewer: Eccentric? Response: Well it’s very um… it has an agility to it that makes it kind of more, um, it’s very easy to change characters very quickly but still with kind of that sort of surreal quality to it. So any kind of expressive moment or things like that, still kind of carries with it some kind of inherent weirdness because it’s not exactly the instrument of love…you know it doesn’t really have romantic connotations with it, so there’s kind of a… yeah in that sense it’s actually for an instrument of contrast, it probably doesn’t have the variation of sound like the violin for where the piece started but it kind of carries with it kind of a constant… um what’s the word I’m looking for… a constant yeah like surreal quality to it that you don’t kind of get… I think because it’s just so high pitched, and so but still with a core of sound that you kind of get with a clarinet. Yeah so I think in that sense the piece worked for E-flat clarinet where it didn’t work for clarinet and violin. It’s not particularly a meaningful piece but it yeah.. Interviewer: Well there are very clear ideas though… (Yeah, yeah certainly) particularly, even emotionally, that the opening is far more extrovert (yeah) and moving into the second section we see something more internal but broad so (yeah) it’s almost sombre (yeah) but not something (yeah) brewing in there. Response: Yeah… it’s yeah it’s certainty it’s… as a work the ideas start kind of more broader... broader, and then certainly the faster the music gets through the agitato sections, it’s pretty much all just materials that are condensation of things that we have already heard. So in that sense, it’s kind of like that sort of internal monologue idea, knowing two kind of separate things and then having them play against one another kind of back and forth. Um in kind of a short amount of time, in the same way when you think about things… it’s impossible if you are thinking about two situations together, its impossible to just think about one. Like you have to… the context kind of forces you to think about the two things at once. So that’s kind of the idea that it’s almost like presenting both ideas at the same time in kind of fragments, that’s kind of the central bit and then yeah, and yeah it sort of just dies… like it didn’t matter anyway. Which I kind of think suits that E-flat clarinet because then that again is a real quality where you can have um two or three broader ideas and have them all happen together, I don’t think you could do on a string instrument for instance, uh and then have a climax and then just disappear like it didn’t matter, like it’s an E-flat clarinet piece. Like I suppose it’s a bit kind of self-conscious in that sense. But yeah, I dunno. Interviewer: So there wasn’t a um… a polite stab I guess at the… Response: Well it’s not even having a go at the instrument… it’s just that I feel like that’s the kind of piece that if you were to write for another instrument it wouldn’t work in the same way.
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Interviewer: Well in that sense, did you find that there was anything that was particularly challenging in writing for that instrument? Response: Um… in so far as um… yeah I mean it’s a very loud instrument (laughs), so in that sense actually like I mean the E-flat clarinet has obvious limitations but you kind of have to… you can’t… um it’s like in order to, I found in order to write for it, like you kind of have to use those limitations to it’s advantage as well. Because I mean for that slower broader section, it probably would sound better on another instrument, but with the limitations… like it’s with any performance, or any um work, it’s like the… actually some of the things, that are I guess wrong with the instrument, give it it’s sound. I mean, you’re talking to a viola player (laughs) It’s like there are things… I mean a violin and cello will always sound better than a viola on certain things, but when a viola plays it, it just means something different. So as far as the challenge of writing for E-flat clarinet, it was, yeah I didn’t find it too bad because I had already written the piece for other instruments and it hadn’t really worked, where as the E-flat kind of unlocked its ability to then form into a piece. Interviewer: Well one of the things that attracted me to the piece initially was the fact that it had both kind of rapid passage work, that kind of virtuosity to the work, but it also explored the lyrical nature of the instrument which is I guess something what this project is really centred around in trying to develop a body of music that explores all facets of the instrument and writing for it in that way. So for me, that was a real joy to receive that. Response: Yeah and I found even watching the whole recital, I was surprised at how, because I suppose I’ve always thought of the, before writing for it, and this is a kind of sheltered view of it, but before writing for it, like most people I’ve just kind of seen the instrument as a novelty instrument that gets wheeled out in like um marching bands in Copland and you know for a laugh. So in that sense like to put it in a solo context actually, it was nice actually. Because yeah, if you know its going to be played well, then that also makes a big difference I feel like um, there was, yeah I did see that as a limitation to the instrument, the potential for it to be lyrical. I dunno, naively or not, just assumed that just because it’s um stereotyped in one way, doesn’t mean it’s incapable of doing other things and actually one of the things, that um sometimes it’s… you kind of have to, even if the stereotype proves to be correct, I think you still have to challenge it from time to time. Um so yeah, it didn’t um it didn’t occur to me to write a kind of ‘slap-happy’ piece like that you know… Interviewer: It’s certainly not happy. Response: Yeah, yeah but I mean um that’s not to say that I mean I don’t see it as it not being particularly deep or, or sad or anything like that, I just, it’s not, yeah part of the reason that it ends softly like that is actually to kind of make it almost seem inconsequential in hindsight, so ‘cause I don’t like it’s… Interviewer: Like fleeting thoughts?
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Response: Yeah, yeah in the same way, like it’s not unusual to have a bad day, it doesn’t mean you’re sad you know like... or, and it’s not unusual to have, cause like yeah. I think we are all continuously kind of debating the merits of this or that or that. And whether it’s happy or sad, the process is (valid) not that different. It’s valid… yeah exactly. Interviewer: Well um on the topic of hearing it, um after hearing it, aside from the flaws in obviously the initial performance, um was there anything that you would change in the work and did it meet your expectations after having sit in the page for so long? Response: Yeah it can be um, it’s a… well because it’s such a new experience for me, I thought…I found the whole experience a bit… well it was unusual. To sit there and know that what you worked on, is then being presented back to you and like it’s and an audience, it’s probably the most nervous I’ve been for a concert in a very long time. Interviewer: Sorry about that! (Laughs) Response: (Laughs) No, no! Like it was great! And I thought the performance of it was really good so it wasn’t, it had nothing to do with that, it was mostly you know, you have to kind of put yourself out there I guess, and my expectations… I dunno, I didn’t know what to expect, I think that’s probably why I was most nervous I guess. Until it’s performed and it’s out there and presented, you don’t know if you’re working with something that’s fine or whether its piece of shit, or whether it’s, you know, like you can’t know, but that was a very valuable experience for me I thought, ‘cause yeah. Interviewer: Well on that note, did you think that your um idea of it, it being this series of thoughts that kind of intertwine and then move away from each other as the mind processes information I guess, did you find that that came across in the performance? Response: I think so… I think it did. There was only one bit where I thought, there’s… um those three kind of aggitato sections? There was one of them, I can’t remember which, because it was a while ago now, but there was one of them where I thought this is going… this went for a bar or two, too long. Like there was more potential for, could have been more interesting if it was cut short or if it was, or even if it was longer actually. Like I think it was just presented too much as the same. Interviewer: Is that something that you’d come back and revise? Or now that you’ve done it… Response: I think if someone came back to me and said, um I wanna do this piece… I would review it… and yeah I’m not sure, I’m not sure…
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Interviewer: It’s certainly worthwhile then me actually re recording it, within the next few weeks, in a proper context so that you’ve got an official recording… Response: …Yeah! Yeah that would be good… Interviewer: …to give you some um headspace with it. But I mean as it stands, I think it’s very effective and it’s enjoyable to play. It’s also extremely challenging particularly for an instrument across um… it, does things that the instrument doesn’t want to do. And it comes back to that idea that you were talking about before you know it’s played on this particular instrument or that particular instrument, um that the notion of difficulty or the notion of playability is completely disregarded in an audience sense, because… Response: …because they don’t care…(laughs) Interviewer: …well there’s that too, but it doesn’t make any difference. So and from that perspective for me, the work is really enjoyable to learn. It has a lot in there that you can really get inside of, and it teaches you a lot about the instrument as well. I so think that’s the great element of the work. Um but I guess what it comes down to, is whether you, if you’re convinced the result and whether that would fuel or give you impetus to write again for the instrument, not in a solo capacity but in another… Response: Yeah I mean, I mean it’s certainly, yeah ‘cause I mean that was the first ever work that I had performed publicly and so it gives me confidence that in so far as, not only writing for E-flat clarinet, but um writing for non-stringed instruments and knowing that it can still be effective. Because I also, I also, I think sometimes when string players write string music, or wind players write wind music or pianists write piano music, that in itself has a limitation: knowing an instrument too well can be a problem as well, I think. So yeah, I think, there’s something about… when I wrote for E-flat clarinet, I made a deliberate decision not to even think about whether it was idiomatic because I think as soon as you…the standard of players and that sort of thing, they’re so um so um ready to do things that are not in, you know, all the training books, because that’s part of the challenge of playing the instrument as well is finding novel ways to, to yeah problem solve I guess. Um, yeah, I that to me, I worried about it a little in terms of I didn’t want it to sound shit. But, if you, yeah… I imagined the sound of the E-flat clarinet playing what it is that I was doing, and then beyond that, I felt like, if you start to, it’s a little bit like if I was writing for a, um violin, obviously it would be easier for all the double stops to have you know, an open string. But why would I limit the sound of the, and it might sound better having you know open string double stops, but that’s a limitation that as a string player, or like as a composer, you wouldn’t want to do… So, yeah. I dunno, yeah I could see myself writing for an E-flat clarinet again… in probably more in an ensemble context. Interviewer: Well on that note, has it changed your um idea of how it sounds as well?
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Response: Yeah, but I found like even watching your recital, I was surprised with what people came up with, and the variety of what people wrote for the instrument. So I think, I mean, I um, yeah I was surprised at the how many… that 6 different works, all for E-flat clarinet could sound so different, with the E-flat clarinet. So, yeah, I guess in that sense um it wouldn’t necessarily change this piece but certainly writing for it in the future, it um, yeah probably that experience of like attending the concert and working with you, has kind of made me, made me think more, that the instrument is more versatile than I thought it was. But also I mean makes me wonder about other instruments as well, that maybe I kind of disregarded, and yeah I’ve always been a big fan of the bass clarinet – but the E-flat clarinet was never an instrument that I really had much, yeah, affection for. But so, so it’s interesting in that respect. Who knows, maybe one day I’ll write for bassoon. Interviewer: Well as you say it’s not an instrument of love? Response: No! Neither is the bassoon.
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Appendix I: Interview transcript – Peter de Jager
Interview Transcription
Peter de Jager
Interview was conducted on the 10th of January 2015 at a private residence in Melbourne. Interviewer (Justin Beere): So we’ll just begin with, I guess your thoughts on the piece and how it came about and uh… you know what’s behind the piece, what were your ideas before I, I threw the question ‘will you write me a piece’ at you. Response (Peter de Jager): Hmmm, there were no ideas before that because I’d never considered the prospect of writing a piece for the E-flat clarinet at all. Um… [pause] I dunno, I uh think one of the first ideas I had was um, basically very similar to a structure I fall back on a lot of the time which is basically just uh, thinking of a group of instruments - individual lines, each with their own sort of structure and playing against each other and, and um but in this case there was the added concept of the E-flat clarinet as a solo line um slightly more virtuosic interpretive and in a sense reacting to the background um events that were going on in the ensemble and um… when I thought more closely about the ensemble it’s fairly obvious idea to offset the uh register of the E-flat clarinet by um having more low register instruments to accompany it and this led to the wonderful idea of a string quartet with no violins, an idea which appeals to me greatly. Interviewer: Yeah! I loved it that was really fun. It was good. It meant that I was the only one with intonation problem in the group (laughs). Response: Fantastic. Um and yeah, and then this whole idea of the E-Flat clarinet um I suppose stereotypically it’s thought to have a more strident or a, or um…what’s another good adjective for it… Interviewer: Piercing, penetrating… Response: Yes piercing, yes penetrating, yeah I like that one. Um timbre and uh I really didn’t think to go past that so much um although I think not being aware of much uh ordinary kind of orchestral E-flat writing, I um was probably lost strength in that I just treated it as like a clarinet um, particularly in the use of the low register and the sorts of things which I suppose are not considered at its most characteristic in an orchestral context. Interviewer:
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And so in relation to the narrative of the work as well… Response: Well yeah there was just the, that new idea of that kind of strident timbre I thought it had this register sort of piping quality which a little made me think of shepherds and what have you… um but then the actual tone of the instrument itself suggested there was more going on and something in me just screamed zombies… Interviewer: Zombies! (laughs) Response: …at that point. I don’t know whether it was a particular… yeah zombies were in my brain for some reason. Interviewer: A bit too many zombie films at that stage? Response: Well I mean, probably it was something like… you know ‘Pride and Prejudice and Zombies’? Interviewer: (Laughs) Great, well this works perfectly. Response: I haven’t read it but instead of… Interviewer: You should have told me, we would have worn suits and dresses! Response: (Laughs) no, it has nothing to do with pride and prejudice or anything but um I was aware that there was a cultural tendency at the time to put zombies in otherwise, otherwise non-zombie works of…yeah. So yeah that’s it basically and the narrative just developed from that… Interviewer: Great. And so when, when you kind of um came at that with, you thought okay I’ve got my zombies and I’ve this quartet, this string quartet um obviously with two violas and two cellos um, did you find once you’d started writing for it that there were any particular challenges incorporating the instrument into that context, which would normally be string quartet, clarinet quintet, Mozart / um Brahms-style of writing, um except we’ve got you know something slightly disfigured string quartet with a, with an essentially highly volatile clarinet in some ways, um what were your considerations, what were your thinking before pen to paper I guess? Response:
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Um, that’s an interesting question. I guess, I guess sort of traditional um, traditional western composition methods, are sort of very much about concerns of integrating disparate, um disparate registers and characters into kind of a unified harmonic texture, which is you know what I’m saying, where as actually I’ve always, I’ve always felt much more comfortable when I’ve had uh, when I’ve had instruments that are very homogenous in their sound. I’m not entirely sure why, um so to me it felt more like I had two instruments: I had the quartet and I had the clarinet and they had a sort of more traditional, if you like, um sort of soloist accompanying role in a certain way – even though the background texture of the quartet was very intricate and very bland, it was also, I think in a sense, it was kind of one character perhaps…[pause] So I just didn’t think of it as a problem (laughs)… Is my actual answer, I suppose. Interviewer: Yeah, lovely. So I guess, well we’ve played it once now, and um hopefully in the near future we’ll get a chance to do it again, um and given that you’ve heard it, would there be anything that you’d change about it, that you felt maybe wasn’t convincing either of the performance or of the instrument itself, um playing the role that it did within the narrative. So would, yeah would you adjust anything given that? Or, do you think as it stands it could now it just take the time to grow or blossom? Response: Yeah, I think um I’m very happy with the piece. I don’t think um compositionally there’s much I would be dissatisfied with. I think uh, I think the performance was great. Uh, I think um, while of course there’s room for improvement, but I think everyone as I’ve um, as I’ve uh come to expect from my ANAM ensembles, they seem very committed to really um finding a way of engaging with the music honestly whatever it may be. Um, so I liked that… Interviewer: Yeah, there was certainly a lot of honesty in that, on that day… (laughs). Response: No it was great. In terms of the instrument, the one thing I wonder is whether, whether I could have written anything slightly, just used slightly higher notes um for the clarinet. I’m not sure, I think it works fine and in a way I’m happy I didn’t try and push the extremes ‘cause it meant…[pause] I dunno what it meant… Interviewer: Well no it’s a very interesting point, because I found that with some of the other works where there was a couple of… Response: It seemed like everyone… Interviewer: …it really works on the day but really kind of went… Response: I noticed that everyone seemed to want like… there was a moment of climax where you reached a, what is it, a high G sharp and then...
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Interviewer: Oooh yeah, and that was the nice thing about your work, within the context of the entire concert as well was that it, it certainly wasn’t trying to do things to the instruments register that, that would detract from the story, which was being told, in my point of view. And I think that, that not to say that the other works did that, by any stretch of the imagination, but, but within what, within the ensemble and the registry you had to deal with there, um and even though I felt from writing mine as well I, I made mistakes in register with not having balanced the E-flat properly inside the texture of the sound and that made it difficult for intonation and all kinds of things that I’m going to have to go back and adjust before that work ever sees light of day ever again (laughs). Um so that was the lovely thing about your work – it didn’t try to do something it didn’t need to and so that was enjoyable to play. Um and I guess in that um, or on that, topic, um I guess it would be good to get a little statement from you about the out of tune sections in the work. Um of course they’re uh indicated via quarter tone, um indications. Um was that something that you wanted the player to be quite uh literal with or is it, is it something that is, is more based on effect? Response: Um well the latter certainly, and I think… I dunno it’s always a struggle in terms of notation with this kind of thing. Um how exact you want to be, or how many liberties appear to give but um I think there’s certain logic in, in notating them exactly because, like with any other harmonic concern, there’s a certain…there’s a certain kind of – I suppose if you like – pattern of deviations from the actual properly in tone mode that I worked out in with reasonable precision… so I suppose if it were possible, um... if it were possible to… Interviewer: …he agrees! Response: …we have agreement (laughs). Um… yeah it were possible to sort of replicate that with the kind of tones, the kind of out of tune quality and the kind of um…[pause] Yeah I suspect I was thinking not only of intonation but also of timbral quality that they’re be a timbral difference to make it just sound strange and black – distorting the music… Interviewer: …warp the texture. Response: …yeah, I wonder, I mean I think, I’d be interested uh to know what you and the other performers would think had I notated it, um just saying this bit needs to sound out of tune – whether you would have approached that any differently or, or would have made a different decision… Interviewer: …yeah that’s a really interesting thought and it’s something that can be notated in so many different ways. Uh, I know I’ve seen it in multiple works, differently for um different effects and of course, I actually was talking about it with Matt Laing the other day about this, um how something is notated directly impacted the way I was reading something of his work, and then he notice it and he was like ‘oh god, I can’t believe I’ve done that, I’m going to go change that’ – and I did that in my piece as well and I didn’t realise that even though the
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material is exactly the same; the way it was written was not getting necessarily the effect that I wanted. And I don’t think that that was the case with your, your work. I think initially when I, when you gave me the work, I was very literal with the translation in terms of okay, I’ve got to work out a fingering system that’s going to get me through these passage works. Because the passage work of course was over a couple of bars. Response: I can imagine that must have helped? Interviewer: It did immensely, and it was until I think I played it to you um and David in that rehearsal um a couple of weeks before the performance and you know, what I thought I was doing for it to be, to be clear or audible wasn’t enough. You know, I did have to do more work with my embouchure in order to get the out of tune kind of sensation I guess um so I guess for you um was that convincing to you in the way that um I guess I understood it and tried to recreate it? Response: Mmm ultimately I think it was, I was very convinced by it. Um and the key probably is that you worked it out in great detail first and then with that as a base, sort of just loosened your expectations of it to give the effect in the final performance. Interviewer: Well I certainly feel like um having spent now a few weeks going through it and figuring out a fingering system for it, um which of course I’d be happy to give to you if any other clarinet players decide to have a go at it, but it’s pretty manageable. Um…[pause] but otherwise that, that certainly did open up a lot of possibilities in order for change of colour. And um and it’s not often explored on the E-flat, so that was a really nice aspect of that concept ‘cause it actually, I think yours was the only piece that did it in that fashion. Um I think there were a couple of quarter-tones in one of the unaccompanied solo works but they were just single notes and that wasn’t… Response: Oh, in which one? Interviewer: That was Josten’s work… ‘The Chronicle’ unaccompanied with a piano body resonance…yeah Response: Oh yes (laughs), which was not very successful, um in terms of that aspect of it, but yes um… oh I see it’s quite a different sort of thing. Interviewer: Yeah totally different thing. So this was, and it was enjoyable for the, to have that, I guess added challenge for the E-flat clarinet which I hadn’t explored before. So that was fantastic. I
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guess um, we’ve heard a lot about what you think about the work, but um would you write for the instrument again now you’ve done it? Response: Definitely! Yeah I think it’s a fantastic instrument. Interviewer: And what would you do if you… Response: Um I don’t know. I haven’t had any specific thoughts but um… no I think, I think it’s a very cute instrument. It’s an instrument kind of I think - to my mind - suitable for, I dunno, very extreme colours and very… it’s not the most subtle instrument, although it can have subtleties, but It’s kind of intrinsically, almost, almost child like in a way… so I dunno, something along those lines. Interviewer: Great. Thank you so much.
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Appendix J: Interview transcript – Paul Dean
Interview Transcription
Paul Dean
Conducted on the 16th of December 2014 at the Australian National Academy of Music, Melbourne, Australia.
Question (Justin Beere): So, I’d like to begin, if you don’t mind, with you telling me about the piece?
Response (Paul Dean): Gee that’s a tough question. So, it came a time when I was thinking a lot about… obviously writing a concerto for e - flat clarinet is not the sort thing that you think that you’re born to do. So it was a challenge to come up with both a concept and an ensemble that made me think that it might be viable. Most pieces I write are, me thinking about the physical situation of being in the performance or watching the performance. So it had a lot to with me watching you play the E-flat clarinet but also what was surrounding that. So I am kind of a visual composer in that regard, but as I said when I started it came at time when was thinking a lot about the Hindemith Kammermusik and so I thought than an ensemble that was, not identical but kind of similar to some of the ensembles that Hindemith came up with for his string and piano concertos, the Kammermusik cycle, would be quite ideal for the E-flat clarinet. It’s a bit like the flute or piccolo, there’s a certain range on those instruments that you just can’t hide them and then there’s certain ranges that you’ll never hear them. And, that kind let me into this idea that it was going to be about a struggle.
Now, obviously I was inspired a lot by my brother’s clarinet concerto, Ariel’s Music, which is about Elizabeth Glaser, who led the charge for the understanding of the facts about aids and rather it being just something that we could blame the gay community for and say well it’s your problem and you deserve it and all of that stuff, which was what was happening in the states at the time. She was the first person that sort of realised, well hey we’re all in this and we’re all in this together. So there was a sense of the clarinet verses the orchestra or, and trying to win the orchestra over. I’ve been very passionate about refugee and asylum seeker rights ever since the tamper crisis in 2001 and umm I sort of thought that the physicality of the e-flat clarinet being a small instrument gave me this idea that it would be the perfect advocate for being a refugee.
So the piece is basically divided in the three main groups within the ensemble. There’s the e-flat clarinet, which obviously represents the asylum seeker. There is the lower instruments that represent, and not necessarily the Australian government, but governments that see it as votes to keep people out. Disregarding any sort of form of human rights or any form or goodness. And then there’s the general public which is sort of the flutes, flutes/piccolos umm cor anglais, upper voices, piano and the marimba. They really represent the general public, which just go on regardless and are seemingly umm untouched by this aggression and ridiculous notion that this is our country and we choose who comes into our country and how they arrive and all of that moronic crap, when we’ve been part of the responsibilities to why these people have been displaced in the first place and once they turn up on our door step, they, well then they can go get fucked. The other thing is we spend all this money battling, Iraq, Afghanistan, Syria, all of the money we’ve spent on actually going into the places and therefore displacing more people and we think it’s too expensive to find a part in our community for these people, many of whom are incredibly qualified, hard-wording people and would put many Australians to shame. That’s the basis of the emotion and energy that behind the piece in the first place. And you can tell, there are various moments where, you know the first entry of, well let’s say the government, after that sort of almost
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minimalist start, where things just seem to go on, not particularly atonal but not particularly atonal and all of a sudden, bang, Bartok pizz. in the bass and bass trombones and trombones and bass clarinet just laying it down. And that just happened. I heard that in my head, I heard this opening, I wasn’t sure what the notes where, but I heard this opening, sort of almost unimportant opening and then moment that the others come in, all of a sudden, the audience is awaken to this fact that this is the evil, it’s a bit like the “Emperor’s March” in Star Wars but not that corny.
So a lot of it was, me visualising what it was going to be like to be in the performance and watching the performance and what instruments I wanted to have in the sound. If I had chance to write a second e-flat clarinet concerto, I’d probably write for the same ensemble maybe adding Tuba. But it was a lot of fun to write for those instruments and things like bowed marimba or mutes on the trombone or gliss’s on the trombone or really low, and the contrabassoon part that goes to an to an A and we actually had to get one in that has an A. The ANAM one only goes to a B-flat. Cor Anglais, you know there’s the typical sort of cor anglais tune in it, which is almost like a member of the public holding their hand out for the e-flat clarinet. And then the piano, I mean the piano gives you everything it you percussion it gives you filigree, it gives you aggression it gives you depth to sound. And the bass clarinets have to be there because they have quite a lot of dialogue with the e-flat clarinet and that’s kind of cool. Two bass clarinets together, as Stravinsky knew, was the best thing you could possibly have in an orchestra.
Umm, so it was a lot of fun to write and I wrote very quickly and very easily and I think it’s far from perfect because of that. But it was just a stream of consciousness. I tried to use themes but I didn’t do a lot of planning I just let it write itself. And I had various things in mind, like the Aleatoric section was the first thing that came to my mind with the trombone doing that sort aggressive and abusive gliss’s and the piano going nuts and this constant pounding of the timpani and the bass drum. That was a sound I had in my head before I started the piece and then the slow movement, and then finishing with the chorale was something that came very late in the day, wasn’t sure how I was I was going to finish it, but I used and idea from James Macmillan, and his piece Raising Sparks, which he wrote for the Nash Ensemble for a mezzo-soprano, I don’t know who it was, one of great pieces of the second half of the twentieth century, that finishes with this incredible chorale that comes out of nowhere, very different to the way mine comes out, umm sort of just starts on the piano out after this, what is quite a sad slow movement, and instead of finishing fast, the piece just couldn’t finish fast, it had to finish unresolved, going to nothing and just with no change in attitude from any one.
Interviewer: So, I know we’ve spoken a lot about the narrative and what you wanted to achieve with that, but did you find there were any particular challenges in achieving that narrative particularly with the instrument aesthetically, which is normally seen as a bit of a gimmick particularly with it’s heritage?
Response: Yea, I think the thing about the E-flat clarinet that I wanted to get away from was that it can’t play a tune, and that it’s not just an instrument that a composer uses at the top of an orchestra to get some thing through, like a glockenspiel or a piccolo. It’s actually quite a melodic, and it’s only a minor third to different to the B-flat, no sorry, what is it, a fourth different to the normal clarinet, it’s not that different really, the low register is incredibly mellow, the middle register up to about G or A is, is beautiful and I wanted to show of the beauty of the instrument and it’s ability to play a melodic line and also its ability to get through a lot of notes, it’s a virtuosic instrument as well and I know in discussions with you, there’s some of it that’s really hard, because it’s all around the break, but there’s nothing that I think that’s actually unplayable in it. Umm, so I wanted to highlight the fact that it’s a lot more versatile and, than what we tend to think because of composers like Berlioz and Mahler and Strauss, um, all of those composers used it brilliantly but in an orchestral context, I think the E-flat clarinet its, got a lot more versatility and a lot more variety and a lot more capacity we thought.
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Interviewer: Did you think from an audience perspective that was achieved . . . apart from the spectacle of six works for e-flat clarinet?
Response:
I think it was probably diminished because by the time they got to my piece they’d already realised that the e-flat clarinet is a lot more valuable than we perhaps thought it was. If it was a stand alone piece in the symphony concert maybe the audience would have been a lot more surprised but a, ANAM audiences don’t normally get surprised by anything because we’ve bashed them about the head with everything and secondly it came at the end after five other pieces written for the e-flat clarinet, so the sound wasn’t different the nature of the thing wasn’t different. But, I suspect that, you know, it’s probably one of the few concertos for e-flat in a modern context.
Interviewer: Oh absolutely there is only one other in Australia.
Response: Yeah and you know from that perspective hopefully it may be picked up by some people who are interested in a new idea.
Interviewer: I hope so, ah, so, this kind of getting towards the end, now that you’ve heard it, well most of it, are you convinced by the result, regardless of finding another clarinet player to play it, but are you convinced by the fact that the narrative was very strong, the instrument that you were writing for happened to coincide well with the narrative and was that effective in conveying those ideals?
Response: Umm, I am not the right person to ask perhaps because I’m, hearing back pieces for me is odd, they never kind of sound the sound the way that I think that they should.
Interviewer: Is that because of the people playing them?
Response: No no no, it’s not, I have had some terrific people play my pieces. I’ve been very lucky but it’s always different when you hear them back. I think there’s some thing that I really like about the piece. I think possibly if I had a couple of months off I could tighten it up and make it even better, but I’ll never do that. And I’m a mozzie and I wouldn’t even think of looking backwards. Although, I did re-write it after the first performance before the recording that we made, I did re-write quite a large chunk of it and I think it’s a better piece because of it and that’s basically because I hadn’t finished, there were certain things that I’d thought I had done but I hadn’t before the first performance. And I think it’s really important to get that drive, and I think in the performance me the conductor probably just let it not get that drive, and I think that’s probably my fault than anything else. Umm, I like the sound of the ensemble, and I like some of the effects, like the artificial harmonics and the muted brass, and you know I did some, and for me it was a bit of a, a bit of a departure with more developed percussion writing, I’ve only written once piece percussion before and it was kind of simple but you know we have bowed marimbas, anvils and fingers playing bongos and all sorts of stuff, lots of mutes for trombone, it was an important developmental piece for me from an orchestral, orchestration perspective. Um, I was a lot more excited hearing it after the recording, than I was hearing the performance. Ah, and I think you were less tired obviously, you may have been better prepared for the concert but you were less tired, I mean the fact that you stood up at all at the end of that concert was a miracle. Um, I think it’s OK. I’m certainly not embarrassed by it. I think it could have been better, but that’s life and hopefully my next orchestral piece will be better because of this one.
Interviewer: And would you write for it again?
Response: Yes, I would,
Interviewer: And what would you do?
Response: Um, I sort of had an idea, that it’d be cool to write a piece, ah, with a wind ensemble piece, not like a concert band piece but you know like a wind octet piece, um, or a
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double wind quintet, where you had an E-flat a piccolo and a bass clarinet and maybe three clarinets and only one oboe or something. Um, I like its um, and I would think of it differently now than I would have before writing this concerto. And if I write for it, if I ever get the chance to write a big orchestral piece, I will write for the E-flat a lot more melodically and a lot more different rather than just that punch, that most composers still to this day use the E-flat clarinet just get a line out or just to punch something to really offend the audience, you know with piccolos and E-flat clarinets, xylophones and glockenspiels and all of the stuff up the top, where they just use it to create this atmosphere. You know Malcolm Williamson was a great exponent of someone who used the E-flat clarinet brilliantly in orchestra, um, because you get that clusterish sound at the top of the piano that you can really do with piccolos and clarinets and things like that. Um, yes I would write for it again, um, and I mean somewhere down the track I wouldn’t having another crack at another concerto and I would slightly, as I said before, I would probably use the same instrumentation but slightly skewered, so it just didn’t look like the same piece and come up with a different story.
Interviewer: Well, thank you. That’s amazing. That’s all I need.
“chronicle” Iwritten by Josten Myburgh
for solo Eb clarinet (& piano body)
Appendix K: "Chronicle" I - Josten Myburgh - musical score.
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accented restsAn accent on a rest indicates for theperformer to accentuate the volumeof their intake of breath or any othersound which immediately precedes playing. A louder dynamic markingbefore a softer sound means that theintensity of breath intake may needto be exaggerated far beyond what isactually required to produce the note.
accidentalsAccidentals are applicable only to the individual note they are placed next to,except on repeated notes or tied notes. In addition, the symbols on the leftare used for quarter tone sharp and quarter tone flat respectively.
pauses and bracketsThe pause and number indicates thetime value for this note to be held for.The bracket indicates that the noteshould be played into the body of apiano with the sustain pedalpermenantly depressed.
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'“chronicle” I' is a piece which attempts to transfer the influence of post-internetabsurdity into a physical experience. The piece borrows its structure from the firsttwo minutes of a video by an acquaintance of mine, Jon Poczciwinski, entitled “The chronicles of pimple joe (part 1).” This video belongs to a genre called “YouTube Poop”, which is defined by Professor Michael Wesch as consisting of "absurdist remixes that ape and mock the lowest technical and aesthetic standards of remix culture to comment on remix culture itself." Rather than assuming a mocking tone,I instead focus on the bizarrely sophisticated use of crude techniques that is presentin this particular video – glitching, reordering of frames, separation of the audio andvideo streams, superimposition and more are used in context with reprises of fragments to maintain structural integrity whilst the video moves to extreme far out points. To translate this to music, I categorise the audible, visible and 'referential' streams separately and run musical ideas through transformations defined by these categories. Through this, gesture, pure tone, the performer's voice, rhythm, etcetera, functionally become one and the same - by undergoing these transformations, a single note might later become a physical gesture, a rhythmic series of noises or a virtuosic run. Because of this, though there is no real overarching narrative direction, the myriad of micro-narratives imply some sort of lattice structure with a network of bonds between each moment. When performed, the piece essentially distills some form of order out of digital chaos - it returns the digitally ravaged video to the form it originated from, that being a single person communicating with an audience. This time, however, it is instructed in part by the strange processes that it is now ready to undergo again.
notation considerations
performance notes
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square noteheadsPlay with either almost no tone,or no tone at all (breath sounds).This will be specified in the score.A dynamic marking of indicatesthat the note should be mimed, but not actually played.
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diamond noteheadsA sung note into the instrument. Notes within brackets are to be sung if the notated pitch is out of range. A male clarinetist is optimalfor the vocal range suggestedin the piece, but a female voicecould sing the parts up an octaveas necessary.
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alternate fingeringsPlus signs above notes indicate alternate fingerings to be performed with thefingering in the diagram. The two keysin the diagram connected by a thin lineare the two that should be trilled between.This fingering chart is in accordance withE. Michael Richards' "Clarinet of the 21stCentury".
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This alternate fingering trillis notated with grace notes toshow that the rhythm is notspecific. Multiple options foralternate fingerings are alsogiven; the performer shouldmix between all of these.Noteheads are removed toavoid confusion with rhythmictrills.
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multiphonicsMultiphonics are notated according to "The Clarinet of the21st Century" online document. Other multiphonics with similiar timbral qualities may be used if these are found troublesome to produce, providing that the root note is the same. Largely, multiphonics are only used for their timbralqualities in this piece.
^ cross noteheadsSlaptongue. The mostresonant slaptongue possibleshould be used.
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I: Midnight Field
Appendix M: Zombie Meadows -Peter de Jager - musical score.
113
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Vlc. 1
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41 œ> œ# > œn > œn > Œ Ó41 œ Œ Ó
œ Œ Ó
œb Œ Ó
œ# ÿ>Œ œÿ>
Œlike hammer blows
f
∑ Ó Œ œ# > œ>˙ œ œb œ œ œ œ œ œ œ œ œ œb œb œ œ œb œ œ œn œ œ œb œb œ œ œb
3 3
.˙ œ œ# œ œ œ œ œ œ œ œ œ œ œ œb œ œ œn œb œ œn œ œb3 3
œb œ œb œ œ œ œ œ œ œ œ œb œb œn œ# œ œb œn œ# œ œb œn œ# œn œn œn œ œ# œb œ œn3 3
œ# ÿ>Œ Œ Œ Œ Œ Œ Œ Œ
strident
swarming
swarming
swarming
FF
F
ƒ
5Zombie Meadows
II: Siege
117
&BB
?
?
44
44
44
44
44
46
46
46
46
46
44
44
44
44
44
48
48
48
48
48
Eb Cl.
Vla. 1
Vla. 2
Vlc. 1
Vlc. 2
43
œ# > œn > œ> œ#> œn > œ> œn > œ> œ# >Œ3 3 3
43 œ- Œ Ó
œ- Œ Ó
œn ÿ> Œ œ>ÿ Œ
∑
tumbling
like hammer blowsf
Ó œb > Œ œ> œ>
∑
œ œ œb œ œ œ œ œ œ œn œb œb œn œb œb œn œb œb œn œn œbœ>ÿ Œ ∑
˙ œ œb œ œ œ œ œ œb œn œb œ œn œb œn œn3
swarming
œb > œb > œ> œn > œ> œ#> Ó33
∑
œb >ÿ œ>ÿ œ>ÿ œ>ÿ∑
œb >ÿ œ>ÿ œ>ÿ œ>ÿ
like hammer blows
&BB??
48
48
48
48
48
46
46
46
46
46
43
43
43
43
43
45
45
45
45
45
Eb Cl.
Vla. 1
Vla. 2
Vlc. 1
Vlc. 2
46 Ó Œ œ> œb > œ> œn > œ> œn > œ> œ> œb > œ> œ> œb > œb > œn > œb >3
3 3 3 3
46 .˙ œ œ# œ œ œ œ œ œ œ œ œn œn œ œb œ# œ œb œn œ3
œb >ÿŒ Ó ∑
˙# œ œ œ œ œ œ œ œ œ œ œ œ# œ œ# œn œn œ œ œ œb œb œb œ3
œb >ÿ Œ Ó ∑
œ> œ> œ> œ> Óœ# > œ> œ> œ> œ> œ> Ó
3 3
Ó œ>ÿ œ>ÿ œ>ÿ œ>ÿ œ>ÿ œ>ÿ3 3
œ>ÿ œ>ÿ œ>ÿ œ>ÿ œ>ÿ œ>ÿ Ó3 3
Ó œ>ÿ œ>ÿ œ>ÿ œ>ÿ œ>ÿ œ>ÿ3 3
like hammer blows
∑œ œ œ œ œ œ œ œ œ
œ>ÿ Ó∑
œÿ>Ó
&BB??
45
45
45
45
45
43
43
43
43
43
44
44
44
44
44
Eb Cl.
Vla. 1
Vla. 2
Vlc. 1
Vlc. 2
49 Ó œ> œ> œ>
49 œ œ œ œ œ œ# ‰ Œ ÓÓ œb œ œ œ œ œ œ œ œœ# œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
∑
œ> œ#>œn > œ#> œ> œ#> œ> œ> œ# > œ> œ#> œ# > œ> œ#> œ# > œ> œ> œ> œ# >
3œ# œ œ# œ œ œ œ œ œ œ œ œ œ# Œ
œb œ œb œ# œ œb œ# œn œ œb œn ≈ Ó∑
Œ œb œ œb œ œ œ œ œ œ œn œb œ œ
∑∑∑∑
œb œb œ œ œ>ÿ œ>ÿ
6 Zombie Meadows
118
&BB??
44
44
44
44
44
410
410
410
410
410
Eb Cl.
Vla. 1
Vla. 2
Vlc. 1
Vlc. 2
52 Œ œ> œ> œ> œn > œ> œ>52 ∑
∑œ# > Œ œ> Œ
œb œb œn œb œb œb œn œb œb œb œn œn œb œn œb œb
œ#> œ> œ> œ# > œ> œ> œ> œ> œ> œ# > œ> œ> œ#> œ> œ> œ>∑∑
œ# œ œ œ œ œ œ œ œ œ œ œb œ œ œn œ
œb œb œ œ œ œ œb œn œn œb œb œb œn œb œb œb
&BB??
410
410
410
410
410
47
47
47
47
47
Eb Cl.
Vla. 1
Vla. 2
Vlc. 1
Vlc. 2
54
œ#> œ> œn > œ# > œ> œ> œ#> œ#> œ#> œ> œ#> œ> œ>
œ#> œ#> œ>
œ# > œ# > œ# > œ> œ> œ# > œ> œ# > œ# > œ>œ#> œ> œ#> œ> œ>
54 ∑ &
œb œ œ œ œ œ œ œ œ œ œ œ œ œb œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œn >ÿ œ>ÿœn > œ> œ> œ> œ œ# œ œ œ œ œ# œ# œ œ# œ œ œ# œ# œ# œ# œ œ# œ œ œ>
œb œb œn œb œb œb œ œ œn œb œb œn œb >ÿ œ>ÿ œ>ÿ œb œb œn œb œn œn œb œb œb œb œn œn œb œb œ œ
&&B??
47
47
47
47
47
42
42
42
42
42
44
44
44
44
44
Eb Cl.
Vla. 1
Vla. 2
Vlc. 1
Vlc. 2
55 ∑ œ# > œ> œ>55 œ> œ œ œ œ œ œ œ œ œb œ œ œ œ œ œ œ œ> œ>
œn œn œ œ œ œ œ œ œ œ œb œb œn œn œb œb œn œn œ œ œb >ÿ œ>ÿœ> œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
œb œb œ œ œn œb œb œb œ œ œ œ œ œ œn œb œb œ œ œ œ œn œb œb œ œ œn œb
œ# > œ# > œn > œ> œ> œ> œ#> œn >
œ œb œ œ œ œ œb œ
œb œ œ œ œ œ œ œœ# > œ>
œn œn œ œ œ œ œ œ
7Zombie Meadows
119
&&B??
44
44
44
44
44
42
42
42
42
42
47
47
47
47
47
Eb Cl.
Vla. 1
Vla. 2
Vlc. 1
Vlc. 2
57 œ> œ# > œn > œ> œ# > œn > œ#> œ> œn > œ> œn > œ> œ> œ# > œn > œ>57 œb > œ> œ> œ œb œ œ
œ œb œ œ œ œ œ œ œ œ œ œ œ œb œ œœ# œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
œ œ œ œ œ œ œ# œn œ>ÿ œ>ÿ
∑œb œb œ œ œ œn œ œb
œ# >ÿ œ>ÿœ# œ œ œ œ œ œ œ#
œ œb œ œ œ œ œ œn
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47
47
47
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47
Eb Cl.
Vla. 1
Vla. 2
Vlc. 1
Vlc. 2
59 Ó œ> œ> œ> œ> œ# > œ> œ# > œn > œ> œ> œ#> œ> œ#> œn >59 œ œb œ œ œ œ œ œ œ œ œ œ œ œ œ œ œb œ œ œ œ œ œ œ œ œ œn œ
œ# œ œ œ œ œ œ œ œ œ œ œ œ œ œ# œ œ œ œ œ œ# œ œ œ œ# œ œb œb
œn > œ> œ> œ œb œ œ œ œ œ œ œ œ œ œ œ œb œn œ
œ# œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œn œ# œ œ œn œ œ œ œ œ# œ
f
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46
46
46
46
46
Eb Cl.
Vla. 1
Vla. 2
Vlc. 1
Vlc. 2
60
œ> œ# > œn > œ#> œ> œn > œ# > œ> œ# > œn > œ#> œn > œ> œ# > œ> œ# > Ó Œ60 œb œn œ œ œb œn œ œb œ œ œn œb œ œb œb œ œn œb œn œn œb œ œ œb œn œ œb œn
œ œ œb œn œ œb œ œb œn œ œ# œn œb œn œ œn œ# œ œ œn œn œ# œ œ# œn œb œ œœb œ œb œn œ œ œ œb œn œb œ œn œ œb œb œ œn œ œn œ œ# œn œb œn œ# œn œ œ
œ# œ œb œ œ œ œ# œ œn œ# œ œ œn œ œ œ œ œn œb œn œ œ œb œn œ œ œ œ#
become submerged
8 Zombie Meadows
120
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46
46
46
46
46
44
44
44
44
44
Eb Cl.
Vla. 1
Vla. 2
Vlc. 1
Vlc. 2
61 ∑61 œ# œn œ œ# œ œ œ œb œn œ œb œ œ œb œn œb œn œ# œ œ# œ œ œn œb
œn œ œ# œ# œ œ œ œn œb œ œ œ œn œ# œ œn œb œ œ œ# œ œ# œb œn &œ# œ œ œ œb œ œb œ œ# œn œ œ# œn œ œb œ œn œb œ œ# œn œ# œn œ#
œb œ œ# œn œ œ# œn œ œb œ œn œb œ œ# œb œ œ# œn œ# œn œ œ# œ œn
∑III: Infection
.˙ œ#
w#˙ ˙#
.˙# œ œ œ œ œ œ6
no vib.
no vib.
no vib.
f
PPP
Slightly Slower q = 90 (approx.)
menacing
∑˙ ˙
.˙ œœ œ ˙b
.˙ œ œ œ# œ œ œ6
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Eb Cl.
Vla. 1
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Vlc. 1
Vlc. 2
64 ∑64 œ .˙#
˙ ˙b
˙ ˙
˙# œ œ œ œ œ œ œn6
∑.˙ œb
˙ ˙œ ˙b œn - œ- œ- œ-
˙ œ œ œ œ œ œ œ- œ- œ- œ-6 "chug"
"chug"
Œ ˙ .œ œ œ œ3
˙ ˙n
œb .˙n˙ œ œ
œ- œ- œ- œ- œ- œ œ œ œ œ œ œ# œ#7
"tarzan"f
cresc. gradually
˙# Ó.˙ œb.˙b œ
w
œ œ œ# œ œ .œb œ œ œ# œ œ œ œ œ œ5
6
&&&??
43
43
43
43
43
44
44
44
44
44
Eb Cl.
Vla. 1
Vla. 2
Vlc. 1
Vlc. 2
68 ∑68 ˙ œ œn
œ œb ˙œ- œ- œ- œ- œ- œ- œ ˙
œb - œ- œ- œ- œ- œ- œ- œ- .œ œ œb œ
∑˙ œ œb
w.˙ œ#
œ œ# œ œ œ œ ˙ œ œb œ œ œ œ œ6
7
∑˙ œnœ ˙
.œ .œä
.œb œ œ œn œ œ œ œ œ œ œb7
scream!
Ó . œ.˙ œ.˙ œb
œb - œ- œ- œ- œ- œ- œ- œ- œ- œ- œ- œ- œ œn œb œ3
œb - œ- œ- œ- œ- œ- œ- œ- œ- œ- œ- œ- .œ œb œb œ œ œf menacing
9Zombie Meadows
121
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Vla. 1
Vla. 2
Vlc. 1
Vlc. 2
72
œ œ œ œ œ œ œ œ ˙# œ œ œb Œ72 wb
œ- œ- œ- œ- ˙ œb
œ# - œ- œ- œ- œ- œ- œ- œ- œ .œ œ# œ# œ œ œ
œ- œ- œ- œ- œ- œ- œ- œ- œ œ œ œ œ œ œ6
"chug"
Ó . œ
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.˙ œnwn
wb
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3
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3
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Vla. 1
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Vlc. 1
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75
œ œb œ œ œ œ œ. œ. œb . œn . ˙6
75
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œ .˙#˙ .œ œ œb œ œ œ œ œ˙ .œ œb œ .œ œ œ œ œ
3
cresc. gradually
œ .œ œb œ œ ˙3
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7œn - œ- œ- œ- œ œ œb œb œ œ œ .œb œ œn6
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77 .œ œb œ œ œ œ# œ# œn œ œ# œ# œn œ#‰ Œ
3
6
3
77 œ .˙bœ# - œ- œ- œ- .˙œ- œ- œ- œ- œ œ œ œ œ œ œ œ
6
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œ œ# œ œ w# ŸI
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wŸÈ
w
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.œ œ# œ# œ œ œ .˙n
.œn œ œ œ œ œ .˙b
10 Zombie Meadows
122
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Vla. 2
Vlc. 1
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80 œ .œ œ œ# œ .œn œ œ œ œn3 3
80
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7
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œ œ ˙.˙ œb B
œ œ œ œ œ œ .˙#6
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∑
œ ˙ œ˙b œ- œ- œ- œ- œ- œ- œ- œ-œ œ œ# œ œ œ .œ œ# œ œ# - œ- œ- œ- œ- œ- œ- œ-
6
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&
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45
45
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45
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Vla. 1
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Vlc. 1
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83 Ó œ# œ œä .œ œn œb œ-5
83
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6 7
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Vla. 1
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Vlc. 1
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85 Ó . o85 œ .˙b œ#
œn - œ- œ- œ- ˙b ˙n
œ- œ- œ- œ- .œ œb œb œ œ ˙b œ œ œ œ œ œ œ3 7
œ- œ- œ- œ- œ œ œb œ œ œ œ ˙ œ œ# œ œ œ œ œ7 7
œ> œ œ œ œ œ œ œ œ# œ# œ œ œ œ# œ# œ œ œ œ5
5 6
.˙ œb
.˙ œ œ œ œ œ œ œ7.˙n œ œ œ# œ œ œ6.˙b œ œ œ œ œ œ6
f menacing
11Zombie Meadows
123
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87
œ œ œ œ# œ œb œ œb œn œb œn -> œ- œ- œ- œ- Œ5
87 ˙ œ- œ- œ- œ- œn
œ# œ œ# œ œ œ œ œ- œ- œ- œ- œ6
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œ œ œ œ œ œ œ- œ- œ- œ- œ5
"chug"
∑
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89 ‰ ‰ œb > œ> œ> œ> œ> œ> œ> œ> œ> œ> œ> œ>5 3
89 œ- œ- œ- œ- œ œ œ- œ- œ- œ-
˙n œ œ œ œ œb - œ- œ- œ-˙b œ œ œb œ œ œ œn - œ- œ- œ-
6
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cresc. gradually
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œ- œ- œ- œ- œb œ- œ- œ- œ- œ- œ- œ- œ-
œb œ œb œb œ œ œ œ œn - œ- œ- œ- œb7œ œ œ œ œ œ œ œ œb - œ- œ- œ- œ7
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91
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6
œb œ œ œ œ œ œ œ œn - œ- œ- œ- œ œ œ œ œb œn7 6
œ œ œ œ œ œ œ œ œb - œ- œ- œ- œb œn œ œ# œn œ œ#7 7
12 Zombie Meadows
124
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43
43
43
43
44
44
44
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Eb Cl.
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