University of Nottinghameprints.nottingham.ac.uk/28801/2/4-Hoquet Perpetuel for orchestra.pdf ·...

Kolassa, Alexander (2015) Portfolio of compositions (and accompanying commentary). PhD thesis, University of Nottingham.

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hoquet perpétuel

for orchestra Alexander Kolassa

(2012)

The first impetus for this piece was a short passage of music I had written originally for

the combination of piano and marimba. For me, hoquet perpétuel began as an

experiment in orchestration, in which I explored different ways to distribute the material

(originally written for two instruments)—constructed using recursive techniques and

integer sequences—across an entire orchestra. The intended result was that the material

should be entirely unrecognisable when compared alongside the original instrumental

source material. The ‘hocket’ technique—processes of this kind are found throughout

many musical cultures, see particularly the Kotekan in Indonesian gamelan—involves the

alternation of sound materials across multiple voices, and this became my primary

preoccupation here.

I have attempted to explore the various ways in which a hocket-like effect can be treated

within an orchestral context. Melodies are constructed through the exchange of pitches

on both the micro and macro level (i.e. through a duet between two clarinets, or across

the entire string section) and seek to exploit in various ways the spatial and geographical

possibilities inherent within the orchestra –that is to say, the physical space and

configurations between different instruments or combinations of instruments.

Despite all this academic and conceptual discussion, I hope that what really comes across

to the listener for much of the piece is a Stravinsky-esque sense of rhythmic immediacy

and interplay (and fun, too). For a slower middle section the lively hockets disintegrate

briefly into more slowly changing textures made of klangfarbenmelodie figures which

struggle, languishing behind contrasting chorale-like passages that emphasise dissonant

minor 2nds (the piquancy of which forms the harmonic basis of the whole work). The

piece is rounded off with an even more overt – and overtly enthusiastic – return to the

opening hocket material. This is designed to give the orchestra a real work-out before an

abrupt and striking, though with luck also satisfying, end.

(programme note: November 2012)

2 flutes

2 oboes

2 clarinets in Bb (2 doubling on bass clarinet)

2 bassoons

2 horns in F

2 trumpets

percussion (2 players)

(1) timpani, suspended cymbals, woodblocks, triangle, tam-tam, 3 tom-toms

vibraphone

strings

Flute 1

Flute 2

Oboe 1

Oboe 2

Clarinet in Bb 1

Clarinet in Bb 2

Bassoon 1

Bassoon 2

Horn in F 1

Horn in F 2

Trumpet in Bb 1

Trumpet in Bb 2

Timpani

Percussion 1

Vibraphone

Violin I

Violin II

Violoncello

Contrabass

slow, crawling (c. q = 65 ) getting slightly faster

mp pmf

mf p p f p

p mf p f p

p f pp f

slow, crawling (c. q = 65 ) getting slightly faster

p mp pp

slow, crawling

(c. q = 65 )

getting slightly faster

p mf ppp

mf mp pp

pp mf p

p mf p

for orchestraAlexander Kolassa (2012)

hoquet perpétuel

Bass Clarinetin Bb

con sord. senza sord.

con sord.

con sord. con sord.

susp. cymbal

sul pont.

arco. (nat.)

B. Cl.

Bsn. 1

Bsn. 2

Tpt. 2

Perc. 1

Vln. I

Vln. II

pp f pf

(c. q=74 ) 8

f fp f

(c. q=74 )

to Piccolo

energetic

senza sord.

energetic

pizz. arco

pizz. arco.

B. Cl.

Bsn. 1

Bsn. 2

Tpt. 2

Perc. 1

Vln. I

Vln. II

p mf p

mfpp ff

p pp f

to Flute

to Clarinet in Bb

con sord.

senza sord.

woodblocks

Bsn. 1

Bsn. 2

Tpt. 2

Vln. I

Vln. II

pp mppp

triangle

(+ indicates held, o indicates open)

o + o +

+ o + o +

Bsn. 1

Bsn. 2

Tpt. 2

Perc. 1

Vln. I

Vln. II

pp mf p mp

senza sord.

Bsn. 1

Bsn. 2

Tpt. 2

Perc. 1

Vln. I

Vln. II

pp f pp ff f

pp fpp f f

pp mf f

f pp fff

f p fff

fpp f p f p f

f p f p f ff

pp ff ff

Bass Clarinetin Bb

B. Cl.

Bsn. 1

Bsn. 2

Tpt. 2

Perc. 1

Vln. I

Vln. II

poco (!) meno mosso33

mf f p

pp mf p

poco (!) meno mosso

p mp pp

to Piccolo

senza sord

con sord.

sul tasto.

B. Cl.

Bsn. 1

Bsn. 2

Tpt. 2

Perc. 1

Vln. I

Vln. II

a tempo40

f fp mf f

mf fp mf f

mf fp f p mf

a tempo

ff mfpp

a tempo

senza sord.

woodblocks

B. Cl.

Bsn. 1

Bsn. 2

Tpt. 2

Perc. 1

Vln. I

Vln. II

poco rit.

p ff f

poco rit.

f f fp

to Flute

con sord.

pizz. arco.

pizz.arco.

B. Cl.

Bsn. 1

Bsn. 2

Tpt. 2

Perc. 1

Vln. I

Vln. II

meno mosso, steady, crawling, evolving

p f mf mp mf

mp mf mp

p f mf

p f pp p f pp

meno mosso, steady, crawling, evolving

mf mf pp mpmeno mosso, steady, crawling, evolving

Clarinet in Bb 2

senza sord.

(con sord) 3 senza sord.

gliss.

Bsn. 1

Bsn. 2

Tpt. 2

Perc. 1

Vln. I

Vln. II

poco rit. 57

pp fp mf p

mf p mp

poco rit.

mpmf mp

poco rit.

mp ppp mp p

mp mf p ff pp

desk 1. div.

desk 1 unis.

desk 1.

desk 1. div.

desk 1 unis. 3

desk 1. div.

tutti 3

Bsn. 1

Bsn. 2

Tpt. 2

Perc. 1

Vln. I

Vln. II

fp fpp mf

poco accel.

fp fpp mf

fp f pp mf

fp fpp mf

p pp mf

poco accel.

ff mp mf fff mf

poco accel.

f mp mf fff mf

ff mp mf fff mf

pp mf fff mf

ff pp f ff mf ff

Bsn. 1

Bsn. 2

Tpt. 2

Perc. 1

Vln. I

Vln. II

mf p mp

mp pp mp pp

ppmp pp

ppp mf

ppmf p

pp p mp

mf pmf p

p mf p

senza sord.

susp. cymbal

pizz. arco.

Bsn. 1

Bsn. 2

Tpt. 2

Perc. 1

Vln. I

Vln. II

poco accel. 75

mp f pp

mf mp f p

pp ff pp ff pp ff

poco accel.

mfmp mf

senza sord

Bsn. 1

Bsn. 2

Tpt. 2

Perc. 1

Vln. I

Vln. II

rit. 80

mp mf mp f pp f

mpmf mp

mp mfpp

tam-tam

(damp.)

sul pont.

Bsn. 1

Bsn. 2

Tpt. 2

Perc. 1

Vln. I

Vln. II

p f p pp

p mf pp pp

mp mf p pp

f pmf p pp pp

pp f pp f pp pp mp

ppf pp

f pp pp mp pp

con sord.

Bsn. 1

Bsn. 2

Tpt. 2

Perc. 1

Vln. I

Vln. II

mf mp mf pp p

mfmf mp

mfmf pp

pp mpf pp f pp

pp mp f ppf pp f pp

Piccolo

senza sord.

sul pont.

norm sul pont.

Bsn. 1

Bsn. 2

Tpt. 2

Perc. 1

Vln. I

Vln. II

a tempo, energetic

to Flute

pizz. norm. arco

pizz.arco

nat. pizz.

Bsn. 1

Bsn. 2

Tpt. 2

Vln. I

Vln. II

triangle

+ o + o +

pizz.arco.

arco. arco. pizz. arco.

pizz. arco.

Bsn. 1

Bsn. 2

Tpt. 2

Perc. 1

Vln. I

Vln. II

To Piccolo

Bass Clarinetin Bb

pizz. arco.

B. Cl.

Bsn. 1

Bsn. 2

Tpt. 2

Vln. I

Vln. II

ff mf p

mp f f

mp f mf mp f mf

p mf pp mf p p mf p

senza sord.

tomtoms

pizz. pizz.

B. Cl.

Bsn. 1

Bsn. 2

Tpt. 2

Vln. I

Vln. II

f ff f

p mf p p mf p

to Flute

to Clarinet in Bb

woodblocks

pizz. arco.

Bsn. 1

Bsn. 2

Tpt. 2

Perc. 1

Vln. I

Vln. II

f p mf

triangle

Bsn. 1

Bsn. 2

Tpt. 2

Perc. 1

Vln. I

Vln. II

a tempopoco accel.

f mf mp

f mfmp

mp mf mp

a tempopoco accel.

mf f mp

triangle

Bsn. 1

Bsn. 2

Tpt. 2

Perc. 1

Vln. I

Vln. II

mp f mpf

f pp f

con sord. senza sord.

pizz.arco.

pizz. arco

arco. arco.

Bsn. 1

Bsn. 2

Tpt. 2

Perc. 1

Vln. I

Vln. II

f mf f

ff mf f

ff p ff

Bsn. 1

Bsn. 2

Tpt. 2

Perc. 1

Vln. I

Vln. II

ff pp f f

mp f pp ff

f pp ff

p f pp ff

mp f f mp

f mf p

f mf f

woodblocks

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