Reunited in Music

I have a rather nice nineteenth century carriage clock which sits on my mantelpiece and I often wonder about the history of its ownership; for whom was it originally made, through whose hands has it passed  –  and if only it could speak, what stories it would tell one of the past; the trials and tribulations of its owners and of the world at large.

The possessions of the Romanov Imperial family, including many fine objects made by Carl Fabergé, have also had an interesting history.  Since the chaos of the Russian Revolution of 1917 and the seizure and sale of these items by the Bolsheviks in subsequent years, some items which were intended to be kept as a set became separated.  This was certainly the case with the Diamond Trellis Egg and the hidden “surprise” which was originally contained within it.

An announcement was made in October of last year that a small automaton elephant, originally made as the surprise inside the Diamoned Trellis Egg (made by Carl Fabergé and commissioned by Tsar Alexander III in 1892), had been discovered at Buckingham Palace by Caroline de Guitaut among items of the Royal Collection Trust, of which she is curator.  An excellent example of the lapidary work of Carl Fabergé, this little elephant is indeed a treasure.  The elephant has a small gold tower on its back which is decorated with rose-cut diamonds and the sides of the elephant are covered in precious stones.  The superlative workmanship employed in the making of this little toy certainly pointed to it being the work of Carl Fabergé and the maker’s label confirmed this to be the case.  To Caroline’s delight the mechanism of the toy still worked  – they wound the key and the elephant started to walk and nod it’s head for the first time in many decades.  You can see a video of the moving elephant at the bottom of this  news report.

The tiny elephant, by all accounts, was acquired by King George V in 1935.  The Diamond Trellis Egg itself, originally a gift for the Empress Maria Feodorovna, was looted during the Russian Revolution of 1917 and eventually found its way to America where its now remains on display at the Houston Museum of Natural Science at the behest of its owners, Artie and Dorothy McFerrin.  It would be fascinating to know the exact details of the egg’s journey from Imperial ownership to its present day location.  Like countless objects of beauty and vertu it has its own story to tell which reflects the turmoil of the world around us and the varying fortunes of its owners.

How wonderful it would be if these two treasures could be reunited once again, if only for a short time, and put on display for the benefit of all those who love the work of Carl Fabergé.  The diamond Trellis Egg has been separated from its surprise for anything up to a hundred years.  But I have attempted to reunite them here in music in the next movement of my little Fabergé Suite.  In this piece of music I have attempted to reflect the strange, other-worldliness of the semi-translucent pale green jadeite used to make the egg as well as the gently shimmering rose-cut diamonds with which it is lined.

Listen out also for the toy elephant which is wound and brought to life as the track progresses!  As always, listen with headphones if you are using a laptop, since the sound is far superior.

Painstaking Work: Carl Fabergé, Mark Rothko and Me

To say that it’s a while since I last updated my blog is a drastic understatement.  I last piped up during the gloomy month of November.  It’s now February.  It’s still gloomy and it’s still raining.  But as to the reason for my apparent absence  –  I could talk of Christmas, of trips to Abu Dhabi, of the pressures of work at the inception of a new term  –  but all these would pale into insignificance as compared to the main issue at hand, which is far more interesting and far more artistic in nature.

Since resolving, almost exactly one year ago, to leave behind my old, score based, traditional, tonal and essentially Romantic style of composition for a new, fresh sound, realised exclusively using a digital/electronic format, I have found that the compositional process is inordinately slower and more time consuming than ever before.  Before, if you had asked me to complete a movement for full orchestra in the space of 4 weeks, I would have met the deadline with relative ease.  The tried and tested ways of working would have been immediately employed and put to work.

I think this familiarity with one’s own method of working, together with the structure of sonata form, which imposed a kind of helpful discipline upon composers of the Classical period, aided the proliferation of copious works in a short space of time by these composers.  The removal of these structures, strictures and “familiar friends” (as an artist friend of mine calls them) leaves the composer somewhat at sea  –  possibly with only a map and compass instead of radar.  There is almost total freedom nowadays  –  except one now has to chart one’s own course!

The other reason for my failure to produce work quickly is explained by the procedures which I now employ in my compositional work.  The music is essentially comprised of the layering of sound; the overlapping of chords and sounds which cross-fade in and out of one another, producing new and interesting harmonies as more layers are added.  These layers themselves are somewhat complicated and intricate and are comprised of further layers within them.  Needless to say, the work is slow and complex.

In the world of art, I liken this process to the painstaking work undertaken at the workshops of Carl Fabergé, where his legendary enamelling work necessitated the layering of several coats of enamel  –  a delicate and highly skilled process which few other makers mastered.  This created the beautiful iridescent effect for which Carl Fabergé’s enamelling became famous.

Another example is the so called “colour field paintings” of Mark Rothko in which he used several original techniques which he kept secret even from his own assistants but which UltraViolet analysis now reveals not only the various layers of the paintings but also the techniques and materials used.  This is a good example of art which appears simplistic to the untrained eye, yet belies an inner complexity and mastery of process.

Despite the pressures of daily life as well as the time consuming processes involved in my current compositional work, I have now managed to complete another short movement in my series of works inpsired by the Imperial Fabergé eggs  –  this time dedicated to the Diamond Trellis Egg.

I am currently adding the final touches to this and will let you hear it very soon.

Pictured below:  White Center (Yellow, Pink and Lavender on Rose) by Mark Rothko; Green enamel cigarette case by Carl Fabergé