THE WORK
With limited information about the orchestra's contemporary composition awareness and skill level until the first rehearsal, I initially contemplated an unmetered composition to emphasize individual expression within the ensemble. However, considering that I did not know the players who would be performing this work as well as the constraints of limited rehearsal time, I opted for a metered approach to facilitate cohesion, comprehension and practicality, as a metered score would be more familiar to the players, considering the other repertoire being programmed. By selecting a 5/4 time signature at a tempo of 60 BPM, I was able to achieve something similar to my first unmetered sketch.
INTRODUCTION
CRY is an orchestral piece commissioned by the Royal Birmingham Conservatoire and premiered by the Royal Birmingham Conservatoire Repertoire Orchestra, conducted by Daniele Rosina, on December 15, 2023, as part of the end-of-term concert.
When approached by Joe Cutler and the performance department in the summer of 2023, I immediately outlined my initial idea for the composition. Despite not yet knowing the full program lineup, I felt it crucial to preserve the authenticity of my creative vision. My initial notes emphasized concepts of relentlessness and a “juggernaut of feelings”.
CRY focuses on timbre and texture to evoke an expressive and disorienting sonic landscape. I employed extended techniques across all instruments and incorporated open notation for the string section to accommodate varying section sizes, as the number of string players for the concert was not defined until the first rehearsal. The focus of CRY is on exploring performers’ independence within an ensemble – strings are being instructed to play divisi, with each player being treated as an independent force. This approach to string writing led to unique timbral effects, which I reused in Pink Soldiers.
In crafting CRY, I aimed to capture a visceral and turbulent atmosphere akin to Andrew Toovey's Red Icon. To balance precision with spontaneity, I combined conventional notation with aleatoric elements, inspired by the works of Lutosławski. Additionally, incorporating the directive "quasi poco rubato" for the conductor enhanced the organic feel of the work. Practicality in very limited rehearsal time by a Conservatoire student orchestra was one of the main points I considered when writing this work, and therefore notating a complex score as Red Icon or a complete aleatoric score as Penderecki’s Threnody would result on the ensemble “playing for the right notes” opposed to playing something that sounds organic and musical.
In my approach to the material within CRY, I incorporated gestures inspired by my piano collection writing. While my piano collection emphasizes flourishes as gestures, CRY employs timbre as a primary gesture. Glissandi and pitch bends serve as fundamental gestures in CRY, consistently woven throughout its entirety. However, acknowledging the technical demands placed on the performers, I introduced a hyper-romanticized section within the work to provide a respite from its intense nature. This idea, inspired by the approach of Anna Þorvaldsdóttir in her orchestral works, garnered praise by performers and audience for its expressive nature and emotive depth, serving as a contrast to the work's more visceral passages.
CHALLENGES
Concerns regarding the length of the work led me to reconsider the significance of the number of pages a work has in relation to artistic merit. This was an initial barrier when I was sketching the work, as at the time, I was arranging various works for orchestra, which were several pages long but short in length. When looking at Earle Brown's Available Forms I, I recognized that a substantial orchestral work need not span numerous pages to be impactful.
Upon learning that the concert program included works such as an arrangement of William Walton’s Henry V: Suite and Beethoven’s Symphony No. 1, I briefly questioned the compatibility of my initial idea with the overall context. However, I ultimately decided to stay true to my creative instincts rather than altering my approach to fit a particular writing style. While I acknowledged the other pieces in the program, I utilized them primarily for practical considerations rather than allowing them to dictate the direction of my composition.
REFLECTION
Writing CRY provided an opportunity to further develop my exploration of performer independence within a group, a theme I've been engaged with over the past four years. It also challenged me to consider how to maximize the potential of a group of unfamiliar players. Consequently, I dedicated considerable time to refining my creative vision into a practical and cohesive musical piece. Balancing artistic expression with practical considerations was indeed a challenge, but it ultimately heightened my awareness of making informed decisions in my work without compromising its artistic integrity..