Australian Composers Orchestral Forum provides emerging composers the opportunity to work with a professional symphony orchestra
ACOF 2004 Participant - Alicia Grant
Alicia Grant's Interweaves was a composition written for ACOF 2004.
...The TSO played them with just the right amount of breath and emotional intensity to convey the uneasy, yearning mood...
Program Notes - Interweaves
The inspiring starting point for my piece was the improvising of a melody and accompaniment which appeared to exhibit very interesting intervallic relationships on both horizontal and vertical planes. Using the longer note values of the accompaniment, I was able to create another melodic line. I then assigned another accompaniment to this new melody. From this new accompaniment, I extracted another melodic line and to this, assigned yet another accompaniment. My compositional process became, as one may describe from a visual standpoint, like the ‘weaving’ of horizontal and vertical elements.
The work may be divided into two major sections. The first commences with the statement of the original melody and accompaniment which has a dreamy, flowing and lyrical character. A new melody and accompaniment (extracted from the original material) then ‘interweaves’ with this music. Subsequently, another new melody and accompaniment is also interwoven and the process gathers momentum. The smooth and flowing nature of the music begins to be disturbed by the introduction of shorter staccato notes. These new detached and more rhythmic gestures invade the music until they eventually dominate it completely. There follows a greater and greater increase of rhythmic activity until a maximum point is reached and the section ends.
The second section sees a condensing and semi-verticalization of the musical material from the first section. It retraces the evolution of the music in the first section but in a distorted, uneasy fashion above a low, ever-present A-flat pedal.
Composition Diary - June 2004
The inspiring starting point for my piece was the improvising of a melody and accompaniment which appeared to exhibit very interesting intervallic relationships on both horizontal and vertical planes. Using the longer note values of the accompaniment, I was able to create another melodic line. I then assigned this new melody with another accompaniment. From this new accompaniment, I extracted another melodic line and to this, assigned yet another accompaniment. My compositional process became, as one may describe from a visual standpoint, like the 'weaving' of horizontal and vertical elements.
Very soon, my title arrived: Interweaves. I spent some months writing the piece in short-score form and I am now a little over half way through the orchestration. The work may be divided into two major sections. The first commences with the statement of the original melody and accompaniment which has a dreamy, flowing and lyrical character. A new melody and accompaniment (extracted from the original material) then 'interweaves' with this music. Subsequently, another new melody and accompaniment is also interwoven and the process gathers momentum. The smooth and flowing nature of the music begins to be disturbed by the introduction of shorter note values which are articulated staccato. These new detached and more rhythmic gestures pervade the music until they eventually dominate it completely. There follows a greater and greater increase of rhythmic activity until a maximum point is reached and the section ends.
The second section sees a condensing and semi-verticalization of the musical material from the first section. It retraces the evolution of the music in the first section but in a distorted, uneasy fashion above a low, ever-present A-flat pedal. I am still uncertain of how exactly to finish my piece - should it peter out or end with a great crash?
Composition Diary - August 2004
In the time since my last diary entry, I have written an ending for my piece and refined various aspects of the work's overall shape. The ending is somewhat dry and disjunct, resembling a 'skeletal' form of musical moments heard at the end of the first section.
Last week at the teleconference, the tutors delivered their comments on my draft score and offered me a lot of food for thought. One of their suggestions was to rewrite the central climax of the piece to create more tension and contrast. I have been mulling over this a great deal and have now written a couple of alternative versions for the segment. However, I am still not satisfied enough with the alternatives to replace the original version. Here's hoping some divine inspiration will solve this one!
Their other comments included: 1) adding more detail to the orchestration by means of specific articulations and dynamics, 2) creating more variety of colour within the orchestra, 3) generating more resonance within certain textures, and 4) making more use of the percussion, in particular, the vibraphone.
With only three weeks until I have to send the final score (within which there'll be a 24-hour flight back to the UK plus jetlag, plus moving house), I am feeling slightly daunted by the task of revision. Nevertheless, if it means improving my work such that the musical intentions become clearer then it is well worth the effort and I will try my best.
Composition Diary - November 2004
In the weeks prior to the final submission of my score and parts, I revised some crucial aspects of my piece. The most observable change is the superimposition of a melodic line (introduced by the horns) to the central section of the work. I felt this was necessary to propel the music forward and create more momentum towards the climax of the piece.
There have been other details added, such as, in the coda section, a soft ‘sul pont’ tremolo played by the violins and violas to create an edge of suspense, and the use of lower octave doubling in the tuba and double bass, adding more weight to the overall texture.
I have been reluctant to add any changes of tempo – this, I believe, is something that one needs to judge in rehearsal.
In the preparation of the final score and parts, I was able to pinpoint the odd missing dynamic or improper spelling. I refined the score by adding cautionary accidentals, where appropriate, and checking for any typographical mistakes. I always find it interesting how one can proofread a score one hundred times and see no mistakes, but the moment one prepares the parts, there are numerous to be found!
I am very excited about hearing the TSO perform the work in a little over a month’s time. It represents the culmination of a year’s work!
Composition Diary - January 2005
Listening to the recording of Interweaves brings back the positive memories of the ACOF week in Hobart. Everyone involved in the forum created a nurturing and friendly atmosphere and the TSO once again excelled in interpreting five totally different and challenging new pieces.
Regarding my work, I was particularly happy with the way in which the lyrical sections evolved. The TSO played them with just the right amount of breath and emotional intensity to convey the uneasy, yearning mood. In the rehearsal studio Iwas, at times, concerned that certain lines in the more dense polyphonic moments were losing their definition and projection. It was amazing to hear the difference once the orchestra rehearsed in the hall – immediately one could distinguish every line! Here I found the orchestra’s interpretation of my piece as a whole was expressed most beautifully, particularly in the final run-through (I’m lucky this was recorded!).
Throughout the rehearsal days, I found it difficult to gauge whether or not the overall structure of my piece was working as well as it should. Now that I have a more detached perspective and have benefited from a break away from the work, I have listened to the recording and pinpointed the weaker structural areas. I may, in the future, revise the ending section to integrate it more with the main body of the work and consequently alter the overall proportions.
For me, ACOF over the past two years has been an invaluable learning experience. I want to thank everyone involved! Thankyou to Brenton and Andrew for their very helpful, genuine, and constructive criticism; thankyou to Ken and the TSO for their enthusiasm, professionalism, and sheer brilliance; thankyou to Meghan and John for all their hours of tireless work and commitment to the program; and lastly, a big thankyou to all the other composers for their support and terrific companionship throughout the whole experience.
