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The autumn rains : for reciter, soprano saxophone, electric piano, percussion and tape

by Andrián Pertout (1999)

Score Sample

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Audio Sample

From the CD Renascence

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Renascence / Andrián Pertout.

Library shelf no. CD 910 [Available for loan]

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Work Overview

The Autumn Rains presents an exploration of quartal harmony, within the context of an electro-acoustic soundscape that attempts to evoke some of the mysteries of Mother Nature. As the heavens speak, the poet begins his melancholy journey deep into the heart, the soul and the mind of autumn:

"As autumn rains besiege the heart, its velvet greys entwined in art, we tantalize a lonely tear, the renegade of love's frontier; as autumn rains caress the soul, its arms extended in control, we reminisce in glory's name, the legends of a past aflame; as autumn rains delight the mind, its logic dressed in sharp attire, we celebrate our natal glow, the symphony of nature's flow."

Some of the quartal nuances explored on the electric piano include six-note chord voicings that feature tritones as well as perfect fourths, with a constant shift in density achieved by alternating between four-note, five-note and six-note chords. Melodies structured vertically and horizontally using parallel fourths also predominate, and contrasting harmonic colours, achieved by the use of sixth, ninth, dominant seventh and suspended chords. Within this base, the soprano saxophone explores extended techniques such as multiphonics, key clicks, breath tones and harmonics achieved by a 'forced, almost overblown' technique. The prepared timpani, each altering the pitch of a different percussive device, reinforce the mood of The Autumn Rains.

Work Details

Year: 1999

Instrumentation: Soprano saxophone (doubling recitation), electric piano, percussion, pre-recorded tape.

Duration: 4 min.

Difficulty: Advanced — Tertiary student.

First performance: by Michael Lichnowsky, Andrián Pertout, Gideon Brazil, Christina Chan — 14 Oct 99. Melba Hall, University of Melbourne, Parkville, Melbourne

The recitation of the poetry should be performed by one of the instrumentalists, with player one [saxophone] being first choice, although the space of player two's [piano] part provides a second alternative.

Performances of this work

14 Oct 99: Melba Hall, University of Melbourne, Parkville, Melbourne. Featuring Michael Lichnowsky, Andrián Pertout, Gideon Brazil, Christina Chan.

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