PIANO TRIO .
It was thirty bleeding years ago, my break-through year.
I wrote that opening page for piano solo with bleeding fingers; it had to re-invent rhythm, to fight against 0ur Western tyranny of the period. I succeeded. T
hen comes the cello with its own tempo , gestures and persona. The violin is a different actor again. I had invented – for me – macrocounterpoint, no longer note against note, but layer or musical flow against layer or flow.
( I don´t necessarily ” like” the sound of the classical piano trio, the two strings having to compromise with the tempered tuning of their a powerful piano – only with this hard-won freedom of MY layered approach could I , I felt, accept the sonorities of this deeply compromised mini-orchestra ). Out of the boiling miasma erupted bits of that Brahms theme. Yet, before it takes over too powerfully, it´s gone again- quasi una visione . This early work of mine I love for its poised layers and polytemporal richness of sonorities and gestures and lines.
QUASI UNA MISSA , after ” BalthazarÂ´s Dream ( Berlin 1980 ) and
the Bourgs Festival Premier Prix-winning ” SweeneyÂ´s Vision” ( West German Radio commission of 1997 ) , was my third electro-acoustic composition ( Commissioned by West German Radio 1999.
It won the 2002 Swedish E.M.S. Prize ) . Like all my ” quasi- ” works of the late nineties and since, it is a composition of this composer who is musically no longer innocent; I know – sadly – too much world-music, too much music of our Western polyphonic tradition.
I wanted to use – for my four movements – ( – but they´re only ” Quasi” KYRIE, GLORIA – CREDO , SANCTUS, AGNUS DEI ! ) as my building-blocks two thousand years of Irish God-utterances from our Irish island ,
bits of texts from the Celtic god, AimhirgÃn, up through Eriugena and Mac Giolla Bride and Berkeley to Beckett and Joyce and God-only-knows what else,
an Irish stew of Irish theology, a musical archaeology of 2000 years of religious tradition.
My ” KYRIE” ( – abbreviated commas, please ! ) is my homage to Palestrina and to our Western chanted counterpoint, as my sacred syllables fugue towards a magic ” Amen!” St. Patrick beats with bony wrist St. PatrickÂ´s Bell.
Quasi- GLORIA has the Wake´s Thunder-word and Glendalough bird-song ( – yes, authentic recordings !
Here , fetishism is all ! ) and a total theophantic eruption, Bronze Age Irish horns from the National Museum, halo and awe.
My Quasi- SANCTUS cooks a heady mix of 20th. c. God-statements plus 7th. c. St. Columbanus´s Latin ” Heia! ” – Chorus ,
his monks rowing backwards up the mighty Rhine from Cologne ( beside whose great Gothic cathedral I mixed my music ) .
Quasi- AGNUS DEI sums up : Irish sorrow, joy, the nunc stans, lullaby and dance and Aran Island keening old women , port- a-bheil , in short my Irish Circus ( – Ciao ! John Cage ! No ! ! ! ) Quasi.
Thanks for checking for the Joycespeak CD, and also for sending those other suggestions. Each of these other works might be a little long for the programme we have in mind, in so far as they might dominate the other programme items by their shear weight and duration. I’ll double check with CMC about Joycespeak.