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SIMAKU Solos and Duos

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SIMAKU Solos and Duos Thomas SIMAKU (b. 1958) Solos and Duos for violin and piano Peter Sheppard Skærved, Violin Chris Orton, Recorders Joseph Houston, Roderick Chadwick, Piano Thomas Simaku (b. 1958) Signals • Capriccioso • Albanian Folk Song, ‘Moj e Bukura Moré’ (‘My Beautiful Morea’) Soliloquy V – Flauto Acerbo • ENgREnage • Deux Esquisses • Sound Tree – Richard Robbins in Memoriam • The Flight of the Eagle Signals for solo piano (2015) gravitational sonic power, around which the Dedicated to Joseph Houston identity of the music is displayed. The title Why ‘Signals’? Although it is not my intention alludes to the genre of capriccio, in terms of to ‘translate’ the sounds into words, this both its free formal design and the overall piece does indeed begin with a ‘signal’ (or character of the music, which invariably two) and finishes with another. The perfect consists of rhythmic gestures with a high fifth is the most prominent interval here: degree of virtuosity. And who better than its it is ubiquitously present throughout the dedicatee, with whom I have collaborated piece, not to mention the ‘signals of fifths’ for a number of years now, could give all at strategic formal junctures. There is a these and much more! The world premiere ‘mechanico’ type of quality that seems to was given by Peter Sheppard Skærved on have engulfed the whole work, which is 26 November 2014 at Kings Place, London. demonstrated by the pervasive hammering of certain notes gradually stretching all Albanian Folk Song, ‘Moj e Bukura Moré’ over the keyboard. The various degrees of (‘My Beautiful Morea’) (2015) intensity come alive in the playfulness of Moj e Bukura Moré (‘My Beautiful Morea’) the texture; and all this is wrapped up, as it has its origin in Southern Italy, in Calabria, were, with a sweeping cascade just before where an Albanian community has lived the final signal is heard. for more than 500 years, and so has the song! The tenderness of the melodic lines Capriccioso for solo violin (2014) expresses the love for the distant homeland, Written for and dedicated to Peter Sheppard which, according to legend, can be seen Skærved from the Calabrian mountain tops. As in Composed in 2014, this work focuses on a most folk songs, this tune is remarkably single note. This particular sonority, ison, is short. The melody itself has not been ubiquitously present throughout the piece; altered, but has been extended, enriched in the music begins and ends with it, and its texture, and presented in different ways. The echo is felt even when the actual sound melodic lines serve as a point of departure is not heard! But it is always there in the for the proliferation of a distinct harmonic background and it serves as a nucleus with a vocabulary. 8.579035 2 Soliloquy V – Flauto Acerbo (2008) with it). The second meaning is more abstract, Written for and dedicated to Christopher Orton and there are several words associated with This work was commissioned by Chris Orton it, such as succession, suite, spiral, chain with funds provided by the BBC Performing of events, etc. All these words/terms have Arts Fund. After the premiere of Soliloquy their own ‘associations’ (metaphorical or I at the 2000 ISCM Festival, the idea of otherwise), and each of them, one way or composing a cycle of solo pieces – the aim another, separately or in combination, seem was to create different characters within the to have something to say in what goes on in same protagonist who ‘narrates’ in different this piece! languages, as it were – materialised itself. Engrenage is a mechanical system This is the fifth work in the series; the first consisting (composed) of two toothed three are for string instruments, and the wheels (Ds!) that generate movement by fourth is for bass clarinet. With each piece, rotating against each other. The music the soloistic idea operates on a different does indeed begin with two Ds in unison – instrumental canvas and is elaborated not surprisingly, double stops will feature according to the expressive qualities and the prominently throughout the work – and it is technical potentiality of each instrument. The this ‘friction’ between them (these two layers, idiosyncratic quality of this particular work is that is) which right from the start seems to be found perhaps in the second part of the to set the music in motion and prepares title, Flauto Acerbo! the ground for an overall contrapuntal engagement consisting of several layers. ENgREnage for violin and piano (2014–15) From the structural viewpoint, each section for Peter Sheppard Skærved and Roderick (succession) in this chain of events is well Chadwick identified, thus giving shape to the flux of ENgREnage could well be the short name for textural activity invariably characterised this piece; with the music firmly centred on D, by virtuosic display. But an idiosyncratic the full name is certainly Engrenage en Ré. expression, at times ostentatiously static, but There are several meanings embedded in this otherwise purely melodic, albeit microtonally French word, but two of them seem to have inflected, is very much part of the textural a remarkably close link with the music here: canvas, and makes its presence felt in the the first meaning is technical, and the exact overall architectural design; with its elegant translation for it is gear (there is certainly a ‘vocal’ quality it certainly stands in sharp ‘gear’ here, which moves up and down and contrast to the rest of the texture. These serves as the catalyst for the proliferation of various degrees of intensity throughout the movement and the kinetic energy that goes music are well supported by a wide spectrum 3 8.579035 of dynamics, often in their extremes, and it be described as ‘stepping stones’ of the is this dialectic quality of opposites (in both musical landscape, for they serve as sonic technical and expressive terms) that seems pillars in holding together the architectural to be the main driving force behind the design of the piece as a whole. Exploring character of the piece as a whole. the sonic properties and the resonance While both instruments pursue their own of various registers, the outer pitches of individual path, they are interconnected at the initial melodic line (E flat and B) are various levels. Here, the ‘open space’ quality strategically presented at structural junctures of the perfect fifth has become central to the of the firstEsquisse , whilst the E, in contrast, piano part, not just at the beginning of the is firmly rooted in its central location, and is piece where the piano is trying to ‘imitate’ the ubiquitously present throughout the second violin with inside pizzicati based on fifths, but Esquisse. As indicated by the description of also throughout the work. In the main climax, each Esquisse, these are highly contrasting for example, the textural energy of the piano pieces; each is self-contained in its own part is based exclusively on piled-up fifths. A unmistakable character, but here they variety of harmonic colours extracted from the are played one after the other and without total chromatic spectrum, such as black and a break. Despite their individual textural white structures, various modal segments, canvass, they are linked by a network of as well as flourishes based on the harmonic relationships at various levels of intensity. series, constantly interact. The title of the piece here refers to specific The music finished on a high note gestures whose impulse and energetic (harmonic), whose ethereal quality, determined unfolding could well be compared to the by both colour and location, is in sharp contrast ‘sketching’ of a drawing in one stroke of to the earthly D4, hence ENgREnage! the pen! The world premiere was given by Joseph Houston on 25 November 2013 at Deux Esquisses (2013) Wigmore Hall, London. Dedicated to Terry Holmes This piece is dedicated to Terry Holmes Sound Tree – Richard Robbins in on his 80th birthday – his friendship and Memoriam for violin and piano (2013) support has meant a lot to me! Three notes This piece is dedicated to the memory of taken from his name are presented right at the artist Richard Robbins (1927–2009). the beginning of the piece. They delineate Richard was a prolific painter; he also the contours of the main melodic idea of sculpted a number of fine bronze heads the first Esquisse, and are thus texturally which are displayed at the London School of highlighted; in fact, these three notes could Economics, including one of his father, Lionel 8.579035 4 Robbins, the scholarship in whose name I The Flight of the Eagle (2000) had the honour and privilege of receiving The idea for The Flight of the Eagle sprang in 1992. In fact, it was this scholarship that from an ancient Albanian proverb, ‘the allowed me to pursue my dream of studying at Eagle flies in the Sky, but makes its nest on a western university. A motivic idea consisting Earth’. Although in no way programmatic, the of six notes derived from the name of Richard music, amidst obstacles of varying degrees, Robbins is imbued with various tonal colours alternates between flying and floating, and – not unlike Richard’s own paintings. With a it is not until the end of the piece that the wealth of sonorities inherent in its intervallic flight really takes off. The sheer power and properties, this musical idea is the only the huge variety of sonorities of the piano source for the proliferation of the pitch and made it an ideal instrument for this flight! In harmonic vocabulary throughout the piece. this context, the piece is part of the cycle With this music I simply wanted to ‘plant a of solo works all of which aim towards a tree’, with sounds, in memory of an artist and thorough exploration of virtuosic potentiality dear friend who himself conveyed his love of and expressive qualities of their respective nature through his art.
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