Gamma was written for a composer-performer collaboration project called 'Sounds of the New' organised by New Dots. The London Première was given by Octandre Ensemble on 14 November 2013 in London, UK.
The inspiration of this work is from Schubert's Piano Sonata in B flat D960; I simply took the theme from the first movement, which lasts for just a bar, applied my won original process and then I invented nine scales out of it. From this I have created no fewer than 108 scales (9 x 12). I realised that I have plenty of material to begin with, and soon I have left out some of the scales from the running order. I then create a revised running order, and subsequently the piece is built on this order loosely.
In short, Gamma is one continues big wave being interrupted several times. Various musical materials cross-cut and superimpose in this volatile movement: aleatoric strings at the beginning, virtuoso flute and clarinet flourishes, a hesitant cello solo, a calm and much slower harmonics section which recalls of a lament, and many more. Each of the interruptions shows strong contrast in character and colour. The work ends with the full ensemble, employed as a single mass, playing all eight notes of the scale. Unexpectedly, the flute plays a further short solo line, and the work comes to its complete end rather quietly.
Throughout the piece I have called for the use of extended techniques in all instruments. One consequence of this writing is that the listener (both the informed and less informed) is never quite sure what the sounds are and where they come from. The flute, for example, is played softly and with covered mouthpiece at times: this does not sound like any flute we have heard before, it is almost like a breathing gesture. The profusion of sounds creates a uniquely mysterious sound space in which uncertainty reigns and sound relationships ambiguous.
Gamma is dedicated to the Octandre Ensemble.
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The inspiration of this work is from Schubert's Piano Sonata in B flat D960; I simply took the theme from the first movement, which lasts for just a bar, applied my won original process and then I invented nine scales out of it. From this I have created no fewer than 108 scales (9 x 12). I realised that I have plenty of material to begin with, and soon I have left out some of the scales from the running order. I then create a revised running order, and subsequently the piece is built on this order loosely.
In short, Gamma is one continues big wave being interrupted several times. Various musical materials cross-cut and superimpose in this volatile movement: aleatoric strings at the beginning, virtuoso flute and clarinet flourishes, a hesitant cello solo, a calm and much slower harmonics section which recalls of a lament, and many more. Each of the interruptions shows strong contrast in character and colour. The work ends with the full ensemble, employed as a single mass, playing all eight notes of the scale. Unexpectedly, the flute plays a further short solo line, and the work comes to its complete end rather quietly.
Throughout the piece I have called for the use of extended techniques in all instruments. One consequence of this writing is that the listener (both the informed and less informed) is never quite sure what the sounds are and where they come from. The flute, for example, is played softly and with covered mouthpiece at times: this does not sound like any flute we have heard before, it is almost like a breathing gesture. The profusion of sounds creates a uniquely mysterious sound space in which uncertainty reigns and sound relationships ambiguous.
Gamma is dedicated to the Octandre Ensemble.
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