3 Baroque movements for ensemble and tape op. 5

Opus 5 marks a distinct moment in my interest in a move toward synthesis between electronic and physical(acoustic) instruments. Timbral color represents a particular presentation of the overtone series and not only confirms the instrument’s sonic identity, but imbues it with particular resonant qualities. Furthermore, where those qualities overpower and where they are attenuated and thin is the scientific inception behind orchestral blending. Balancing, supporting, and overpowering timbral and registral parameters is what makes orchestration a fluid art.

By contrast, sine waves do not possess overtones, and are therefore ‘pure.’ This allows them to change register without effecting the resonate quality. As such, I approached the sine wave on the tape as the soloist against which the other members of the ensemble would act as a quasi-concerto.

The voice of the tape often transforms from working in counterpoint against the ensemble, at other times doubling lines, and other times assuming the role of accompaniment in a way that challenges the ear to follow the dynamic trajectory of the sine wave as it weaves and directs the formal textures set up by the ensemble.

The prelude is written as a perfect palindrome, crescendoing to its minor image and then slowly retracting its reversal form, while the second movement adagio reveals an arietta. The prolonged melody is taken up by several instruments who must pass the melody back and forth due to breathing considerations, where the sine wave is able to navigate it with ease and clarity. The final movement presents a Grosso form with concertante and ripieno from a harpsichord.

The juxtaposition between purity and overtone blending lends the work an almost comical edge(and at moments that is certainly intentional) that is hopefully tempered by the contrast of syntaxes at play.