each changing (Eb clarinet version)

for Eb clarinet

--- Marc Yeats

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Composer Marc Yeats
Year of Composition 2020
Duration ca.14'
Composer

Instrumentation

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Categories (all composers) ,
Catalogue ID ce-my1ec1

Notes

There is no programmatic intention in what unfolds as sound in this piece: any or no relationship to the title and the sounding music is forged at the discretion of the composer, performer and listener. Despite this statement, there is an unfolding of material that manifests through contrasting sections of music to hopefully provide the listener with a compelling experience even without programmatic intent. It is the interplay between and within these sections that is the narrative content of the composition.

There are three iterations of the piece titled each changing, first, a solo piece for E-flat clarinet; second, this duo for two B-flat clarinets that further expands and transforms the materials in the E-flat solo, and third, an ensemble piece that combines the solo and duo pieces with material for harp and percussion to make a composition for five players. All these pieces except for the solo work are polytemporal compositions.

The material constituting the clarinet writing in both the solo and duo pieces stems from, among other sources, self-borrowed and enhanced materials from the violin part in always searching for home (2020), a composition that immediately preceded this, and where those materials were themselves self-borrowed and transformed form the violin 1 part of the 2016 string quartet, observation 5. In addition, a bar of material self-borrowed from liquid music (2017) for B-flat clarinet is much expanded and developed in these pieces.

I am always fascinated how the combination of musical materials with other content, in this case, the solo E-flat material when presented with the B-flat duo and later, harp and percussion, affects how these materials interact in time, constantly changing the vertical, harmonic and rhythmic relationships of the combined elements to alter how we perceive this unchanged material when presented in different contexts. These contextual changes can radically alter our perception of the sounding music.

The each changing series of pieces are dedicated to my friend and colleague, the clarinettist and composer Raymond Brien.