Composition portfolio

Abstract

This dissertation analyses the five compositions included in my D .Mus. composition portfolio, namely the Trio for Clarinet, Violin and Piano, Un reste de Suite for harp solo, Repliements et depliements for clarinet in E flat, 2 clarinets in B flat and bass clarinet, the Flute Concerto, and Psalms for Today for tenor, baritone, chorus, and chamber orchestra. I introduce the dissertation by depicting my profile as a composer: my formation, short remarks on several of my earlier compositions, influences and favourite composers. Then I explain my approach to composition in general, illustrating . what I am saying by giving more detailed notes about seven other compositions. The introduction ends with an explanation of the "method". This consists of an outline of the background and history of each composition, followed by a more detailed analysis of the form, the scalic, melodic and harmonic materials upon which the work is based, as well as the consideration of other musical parameters, such as rhythm, instrumentation and texture. Chapter One analyses the Trio for clarinet, violin and piano, by studying the form and the main material, as well as the way the instruments are used. Basically it boils down to a consideration of how a "root chord" is utilised during the work, with the final movement returning to the chord after starting away from it. The second chapter studies a Harp Suite. It shows how a scale, that has a Mediterranean character, is used throughout, and how the traditional movements of a Baroque suite are distorted. At times, this chapter analyses in depth, by using rather extensive music examples, how the melodic-harmonic background is objectified throughout particular movements. The third chapter considers the shortest piece in the portfolio, Repliements et Depliements for clarinet quartet. It shows how we have a process of folding (narrowing) and unfolding (widening again) of the texture in this piece. All this is shown within the framework of the development of the thematic material. Chapter Four concerns the Flute Concerto. It is studied within the context of the evolution of the relationship between soloist and orchestra in the concerto form. There is detailed analysis of form and of the basic motivic material upon which the work is built. The final chapter considers the major work of the portfolio, the Psalms for Today. A new element is introduced in this composition: the use of voices, and the concomitant relationship between text and music. The use of simultaneous texts with different - and sometimes opposing - attitudes is reflected into multilayered textures. Naturally, form, thematic material, instrumentation and other parameters are also analysed. The Conclusion consists of some brief remarks concerning mainly what I think I achieved in these compositions, and addresses some of the problems in completing my work.