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