GLEB KANASEVICH (b. 1989)
ZYKLUS (2011) for solo clarinet, fixed media, guitar, and percussion
CONCEPT AND COMPOSITION
The first half of this works does not attempt to blend clarinet and tape into one, or orchestrate the tape part as an appendage, an optional add-on, but more as a necessary extension, compliment and a signifier of inexplicable, cosmic and unidentifiable force, eventually presenting itself in concrete ("human") form. Essentially, the concept, the progression, the unfolding of the tape and musical material represents the Story of Creation/the cycle of life/simple cyclic patterns that we observe in our world daily. The end of each element is a beginning of another. Parts exponentially multiply and eventually disintegrate; essentially, everything is finite, yet everything is infinite in its ability to evolve into something else. The entire work “ Zyklus ” is created in a symmetric form made up of series of variations on the original content. Superficially, each variation contrasts the preceding on, yet compliments it by filling a textural, dynamic or characteristic void of its predecessor. On the very surface the title of the work points not to Stockhausen's work of the same title, but to Stockhausen himself and his seemingly limitless fantasy and uncanny ability to come up with literary scenarios of cosmic proportions. The "quasi cadenza" free interpretation feeling and atmosphere, with almost overdecorated, complicated solo lines, yet minor dynamic and nuance indications point to Michael Finnissy's neoromantic, virtuosic and passionate solo works (for all instruments, clarinet included). In part one (“ Variative. Derivative. Exploitative.. .”), after the initial statement of three tetrachords in the tape part, the musical material makes a journey through various textural and rhythmic transformations in order to finally present silence in the last ninety seconds of music. As sound has been continuous up until the middle point in the work, the silence becomes deafening and naturally accentuated. The title of the first part is a play on words, with each ending ironically hinting at French sounding words, thus, contextualizing the long, decorative impressionistic gestures and embodying the referential nature of music (to Baroque music, to Denisov with pointillistic tuplet gestures, to Boulez with trills and rubato cadenzas, and to Babbitt with fragmented words and grotesquely pitch-shifted gestures from the solo part). Due to the large number of referential elements, distinct sounds, dense orchestration (at times), and erratic and intricate mixing, the tape is a fixed media orchestra rather than just simple playback accompaniment to the solo part. This is especially accentuated in the second and fourth sections of "Variative. Derivative. Exploitative...," where there is a shadow clarinet emerging seamlessly out of the live part, creating a quasi-"organum" polyphony (with solo clarinet being the soprano line) and playing the principal voice in a canon, respectively. Part two (“ Des produits derives”) begins from a neutral point: the ending pitch of the first half. After the “introitus,” the neutral point is over, and the rows of pitches and rhythmic groupings start regressing and moving in reverse direction. The second half starts with clarinet alone, since it is the only element connecting the two completely different instrumentations, and the live instruments become the materialized sounds from the tape part of the first half, symbolizing creation of something out of nothing (nothing being the artificial sound production coming from the computer/PA system, like a divine force existing beyond concrete, material world). As the material rewinds itself in the second half, its numerical content is re-orchestrated and rearranged in such ways that pitch rows become rhythm, rhythmic rows become pitch, clarinet plays material previously presented in the tape part and guitar and percussion play material from preceding solo clarinet part; however, regardless of which material clarinet plays, it still remains the leading voice. In this work I create a universe of musical material, which is essentially derived from three basic rows. From the rearranged fragments/sets, making up the initial pitch row (Adam), a second one (Eve) is created, which provides harmonic support and later takes over as the dominant row; however, eventually, it gives in and allows the first row to take over again. The entire universe of “Zyklus” metastasizes in density of material and grows in its structural complexity, only to return and disintegrate into its initial elements and conclude the work with the statement of original pitches (very last passage played by the clarinet) as a reflection on/homage to/acknowledgement of the significance of the tape introduction.
Gleb Kanasevich New Haven, Connecticut November 12, 2011
STRUCTURE, DURATION, INSTRUMENTATION, AND INVENTORY
PART 1: “VARIATIVE. DERIVATIVE. EXPLOITATIVE…” For solo clarinet and fixed media (tape). -Clarinet and tape are to be in exact balance with each other, without either element’s being dominant. -Tape is created for standard stereo playback. -If both halves of Zyklus are being programmed, it is preferable that stereo system with soloist’s performance space occupies one half of the stage, while the set up for “Des produits derives” occupies the other half, with all performers remaining on the stage for the entirety of piece’s performance. Duration: 12 minutes
PART 2: “DES PRODUITS DERIVES” For clarinet, guitar, and percussion. Clarinet inventory: -Two b-flat clarinets, or two mouthpieces: one for performing most of the work and the other one for performing Variation 2a, with teeth on the reed. Guitar inventory: -Guitar is not to be amplified. -10 to 12 inch chopstick. Percussion inventory: -Vibraphone. -10 inch tom-tom. -Small to medium sized metal cooking pot, fixed to a music stand/platform/table and padded/muted as needed. Duration: ca. 12 minutes
TOTAL DURATION: ca. 24 minutes
VARIATIVE. DERIVATIVE. EXPLOIATIVE‌
NOTATION KEY
Any multiphonic on the notated fundamental pitch
Teeth on the reed
Glissando to a pitch as high as possible
Pitch loudly sung/yelled Pitch played
Start trill slowly and violently speed up
Quarter-tone pitch bend
Gradually increase speed and width of vibrato
Sustain the note for the duration of the arrow. Proportions of durations are up to performer’s discretion
Same as above
Play the notated pitches and sing/scream in accordance with the notated line curve
Start marginally faster than notated value, end marginally slower than notated value Start marginally slower than notated value, end marginally faster than notated value
Pause, notated in seconds
1/4 tone sharp 3/4 tone sharp 1/4 tone flat 3/4 tone flat
DES PRODUITS DERIVES
NOTATION KEY
Relative placement of teeth on the reed, when producing scratch sounds. Shorter line – closer to the ligature. Longer line – closer to tip (clarinet, Variation 2a). Curved line – relative amount of pressure applied by the teeth onto the reed. By the end of the section, the reed should be noticeably mutilated. Pitches screamed/sung loudly and played in unison (clarinet, Variation 2a).
Dotted line represents the release point of all active pitches/playing instruments (Variation 3).
Vibraphone pedal press/release.
Clarinet multiphonic sequence number. (Variation 2b) Associated fingering.
Fingered pitches (in guitar part, Variation 2b)
Rhythm played/beaten on the strings by the chopstick.