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Work

Interpolātus

by Andrián Pertout (2017)

Also known as: Interpolated

Score Sample

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This sample is from the Trios: Clarinet, violin, cello version of this work

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- Trios: 3 Clarinets

- Trios: Clarinet, violin, cello

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Parts

Interpolātus : for clarinet trio / Andrián Pertout.

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Score

Interpolātus : for clarinet trio / Andrián Pertout.

Trios: 3 Clarinets Available for loan $41.73 Add to cart

Parts

Interpolātus : for clarinet, violin and violoncello / Andrián Pertout.

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Score [ePDF]

Interpolātus : for clarinet, violin and violoncello [eScore] / Andrián Pertout.

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Score

Interpolātus : for clarinet, violin and violoncello / Andrián Pertout.

Trios: Clarinet, violin, cello Available for loan $41.73 Add to cart

Work Overview

Interpolātus or Interpolated was commissioned by Julian Burnside AO QC and especially composed for Australian clarinettist Richard Rourke (Sydney, Australia) for the Hammerings Records 2017 Concert Series. The work serves as an exploration of heterophony, as well as the musical implications of 'interpolation' as a compositional process via the utilization of a series of melodic patterns presented in 'Thesaurus of Scales and Melodic Patterns' (1947) by Russian-born American conductor, author, pianist, composer and lexicographer Nicolas Slonimsky (1894-1995). These nine melodic patterns (along with their permutations generated via the transformative processes of Interpolation, Infrapolation and Ultrapolation, as well as combinatorial variants Infra-Interpolation, Infra-Ultrapolation and Infra-Inter-Ultrapolation) represent the only pitch material utilized in the work to generate both horizontal melodic lines and vertical simultaneities. Magic Squares of orders 3, 4, 5, 6, 7, 8 and 9 with magic constants of 15=Saturn, 34=Jupiter, 65=Mars, 111=the Sun, 175=Venus, 260=Mercury and 369=the Moon (each row, column and diagonal adding up to 15, 34, 65, 111, 175, 260 and 369 respectively) also feature in the work as tripartite rhythmic durational schemes, which are juxtaposed as static, homogeneous alignments, or alternatively, as canonic entities (tempo canons in the proportions 3:4:5). These seven magic squares are reduced to modulo 3, 4, 5, 6, 7, 8 and 9 respectively in 3x3, 4x4, 5x5, 6x6, 7x7, 8x8 and 9x9 matrices in order to accommodate the musical intentions of the compositional process. The last fifteen years of this composer's music compositional practice have been all about finding a middle ground between highly experimental work (extremely important for personal growth and the development of our craft) and 'measured' accessible work (certainly not adhering to the restrictive boundaries of popular culture, but an approach that connects emotionally with both the professional progressive music practitioner and the general public). This work is all about obtaining a clear perspective in relation to the abovementioned observations - the ideal achieved in part by a combination of formalized compositional methodology in conjunction with intuition, or what could effectively be termed as an 'organic' generative process. The work was arranged as a clarinet trio for Australian clarinettists Robert Schubert, Natasha Fearnside and Grania Burke.

Work Details

Year: 2017

Duration: 9 min.

The composer notes the following styles, genres, influences, etc associated with this work:

Heterophony Interpolation, Infrapolation, Ultrapolation, Infra-Interpolation, Infra-Ultrapolation, and Infra-Inter-Ultrapolation Nicolas Slonimsky (1894-1995), Thesaurus of Scales and Melodic Patterns (1947) Magic Squares.

Performances of this work

27 Nov 17: Festival Azul de Nueva Música, Biblioteca Nacional de Chile, Santiago, Chile. Featuring Colectivo Azul.

19 Nov 17: Creative Space Gallery, North Curl Curl, Sydney, Australia. Featuring Richard Rourke, Huy-Nguyen Bui, Paul Ghica.

3 Sep 17: Trinity Uniting Church, Brighton, Melbourne, Australia. Featuring Natasha Fearnside, Grania Burke, Robert Schubert.

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