OCTET
This piece was written as a companion to Schubert's wonderful Octet, scored for the same combination of instruments. It's duration is approximately 21 - 24 minutes. As with much chamber music, its register is domestic, it's language complex, but its intention is to engage the audience.
I hope that it is a work of some substance. Its shape is that of an extended arch, the proportions of the movements being roughly 5 + 3 + 5 + 3 + 5. Its structure was derived from golden section and Fibonacci number systems (as developed by Bartók), but it is not necessary for the audience to be aware of that fact. The material of the piece is mostly derived from the opening chord progression.
The piece was first performed on 6 July, 1991 at the Cerne Abbas Music Festival by the Gaudier Ensemble, for whom it was composed. It has since been revised slightly. Its commission was made possible by a grant from South West Arts.
It was and is my intention that the players should enjoy playing this piece; they should be interested, challenged, and perhaps, moved. Only in that way can the audience enter fully into the language of the music. The technical and ensemble difficulties (which will no doubt diminish with familiarity) should not get in the way of the musical gestures. If in doubt, players should trust their chamber music instincts. They should not avoid the temptation to play "musically". If the performers feel as if they are playing chamber music in the same tradition (if not the same language) as Schubert, Brahms and Bartók, I shall be delighted.
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The material in this movement is layered, with phrases changing position between foreground and background. Players should try to play quaver and semiquaver figures crisply whenever possible. For example, the cello, viola and bass figures beginning bar 68 should be played very lightly, as in the baroque style.
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The spiccato figures in the strings should be played as if they were pizzicatos (which I would prefer, but are quite impossible). The 5/4 Waltz beginning at bar 14 should be played ironically, as if by Shostakovitch. The canonic melody for the viola and cello beginning at bar 60 should be played with expression, and should be clearly in the foreground.
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Beginning at bar 29, the semi-quaver repeated note figures should be played with some emphasis, allowing a conversation to develop between the accompanying instruments. Of course, the material should remain in the mid-ground, behind the clarinet and horn.
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Should be played as the title suggests. It should have a lilt and a sense of celebration. The figures in the strings beginning bar 39 should seem to have direction, although they should not be played heavily.
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Material from previous movements is recapitulated, and should be played as if with more familiarity. (The repeat of the 4th movement accompanying figure at bar 76 should be played with slightly added weight.) From bar 56, the quadruple canon should grow inexorably until the climax at bar 70. Throughout, the clarity of line should be maintained whenever possible.