Program Notes

""The gestures of Paintings VII derive from 'physical' patterns, suggesting dance and improvisational movement. I would like to think of its form as 'organic' - that is, evolving and yet strongly goal-oriented. Paintings VII embraces a wide array of aesthetical and compositional characteristics. The dominant character is abstract and is undoubtedly the most intense and complex composition in the Paintings series. Its complexity is sustained and reinforced by a metric-temporal undercurrent which rapidly develops and continually transforms. At times this rapidity evokes a veritable ‘explosion‘ of musical energy and intensity. Architecturally, the work is divided into three sub-movements and a set of polyphonic cadenzas which are compressed together, forming a single movement. A virtuoso concerto-like (or concertante) treatment of the bass clarinet, percussion, and piano pervades the work's entirety but is given its greatest elaboration during extended polyphonic triple-cadenza. Many of the most intricate compositional details include the presentation of timbre melody, metric proportions, metronomic proportions, the partitioning of in-time/out-of-time elements (notable in the third section) and the exploration of very complex polyphony derived from numerical relationships which help to control linear details on both the macro and micro (moment to moment) levels. For example, the ratios of 3/7, 11/7, 10/7, and 10/3 are of particular rhythmic significance, and they help to generate and extend the moment to moment musical continuity into larger periods which eventually shapes the overall structure and polyphonic surface. This manner of complexity paradoxically yields a gestural quality of improvisational freedom coupled with and intensified by extreme dynamic contrasts, textural expansiveness, intricate solo dialogue, antiphonal interplay, all underscored by a long-term cumulative sense of musical expectation and surprise. Perhaps the most challenging task was to blend and integrate formidable a priori relationships into an intuitive flow of musical thought–to create a web of musical-dramatic conflict, heightened by an intensely personal and musically dynamic palette. Therfore the bass clarinet, percussion, and piano (concertante group) are often given the most powerful musical status, traversing the widest gamut of emotional conflict, and responding as principal antagonists within the entire ensemble scenario. At times, however, the percussion dominates all and is given moments of action which seek dramatic supremacy and eminent musical status within both the concertante group and the entire ensemble. The percussion seeks its own personal dominion and its musical discourse erupts in highly ornate musical gestures and polyrhythmic patterns. Nevertheless, it should not be inferred that the remaining instruments are treated with less significance. To the contrary, they have their say in quite important and brilliant fashion. The violin, viola, cello, and harp group is given considerably virtuosic passage work and intricate ensemble activity which is, at times, on equal footing with the activity in the concertante group and contributes importantly to the total musical energy and fabric. Occasionally, they act as a ‘string quilting,‘ lending a transparent blanketing and support to the concertante group. And although they are not involved in the polyphonic triple-cadenzas, they assume greater and greater importance towards the end of Paintings VII. The sound of sleigh bells adumbrates the final section whereupon a resolution and tendency towards unity becomes increasingly evident, and the multi-levelled conflicts set forth from the beginning are gradually abated. The effect of the ‘string quilting,’ which creates a harmonic calm and balance, brings to end the last stages of dramatic conflict, generating a powerful musical quieting and sense of transcendence.""

—William Thomas McKinley (© 1982), from his notes (excerpts appear in Margun Music, inc. MP5030 published score)."