This piece was first performed on 13th May, 2011, at the Howard Assembly Rooms, Opera North with Jonathan Tobutt (cor anglais), and the composer at the piano.
My sincere thanks to Jonathan.
Please let me know if you're interested in this piece. You can use my home number or e-mail if you have it; otherwise please e-mail me at D.R.H.Gordon@leeds.ac.uk.
Many thanks!
Dan.
| As a matter of courtesy (and for copyright), please let me know if you are downloading this file: | Recording of first performance (MP3 format: approx 7 MegaBytes) |
The cor anglais is capable of a famously rich and expressive sound, yet doesn't have much solo repertoire. I was thinking about this when I first heard the wonderful playing of Jonathan Tobutt, happily from the position of accompanying him on piano and organ in a series of performances. I am extremely grateful to him for giving this premier of Ele-lullaven, and for encouraging me to write it. I'm also delighted to be performing it here at the Howard Assembly Rooms.
Ele-lullaven is mainly quiet and is based on a simple idea of a gently undulating lilt, one rhythmic cycle of which is:
5 4 3 2 3 4 3 2 3 4 = 33 quavers
I have tried to explore harmonic and timbral colours from the two instruments as a means of creating atmosphere: variations in texture/intricacy, pace, and contrapuntal structure provide the main structure of the piece. The final note - a sharpened subdominant - is a warmly respectful nod to the conclusion of Herbert Howells' oboe sonata - an extraordinarily intense piece which Jonathan and I performed as part of Jonathan's Master's recital at Leeds.
Ele-lullaven has some symmetry in that the main rhythmic theme is heard increasingly clearly towards the start and end of the piece, whilst in the middle it tends more towards a straight triple time, keeping the rhythmic length of each unit the same. The centre of the piece consists of three canons, each occupying one such cycle but having rather different sounds and structures. They are at least remotely related to the main melodic theme, being in 3, 3 and 5 parts respectively, each with free parts as well.
The constancy of the rhythmic length transforms 33 from its oscilating form at the start and end into {3x11} in the middle. The title is a combination of the "11" and "lullaby", and also calls to mind some of the great monoliths of remotest Sutherland - Foinaven, Suilven, etc - always a source of inspiration to me.
Throughout Ele-lullaven, the intention is expressive and flexible, so the underlying structure will hopefully not be too stark: there are 15 rhythmic cycles: some have pauses between but often there is a sense of continuity across the boundaries. The piece lasts for 7 or 8 minutes. I do hope that you enjoy it, and I would welcome any comments you may have after the concert!
[© D./C.G. 2012]
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