Caleb Myers - 過剰の3つの俳句 (Three Haikus of Nimiety) - Live Recording

Three Haikus of Nimiety
World Premiere March 22nd, 2009
Greaves Concert Hall, Northern Kentucky University

Piano: Scott Taylor
Cello: Rebecca Merblum
Program Notes:

Three Haikus of Nimiety by Caleb Myers
I. Life as a Verisimilitude
II. The Sound of Sedentary Granola
III. Superfluous

Haikus of Nimiety is a dedication to my sister, who has been more of an influence and inspiration to me than anyone in my life. However, there are several things that inspired me to write this piece, and to take the approach I chose in the end. The first of which was my desire to write something different from what I am used to writing; something outside of what I am used to composing, but not so far that it is no longer my own.

The title of the whole work, and the title of each of its movements, are intentionally ambiguous, symbolizing the absurdity of the percieved importance of titles and the eccentric and confusing nature of haikus themselves. The titles themselves date back to 2005, from several satirical haikus written during a conversation with very good friend. The "haikus" are illustrated in the musical form, because each short movement contains what can be construed as four stanzas, though none of the stanzas makes any particular sense by itself.

There really is no strict form to this piece. Other than the separate stanzas, it is entirely through-composed. Each movement is played in succession, and it is really meant to feel like one whole work rather than three distinct movements.

Haikus of Nimiety is one of my very few compositions to employ atonal techniques. While the introduction is undeniably tonal in nature, eventually the piece progresses farther and farther away from its tonal center, until, in the final movement, the key signature becomes obsolete.

Throughout the piece, the cello part acts as more of an accompanying line, providing rhythmic motives rather than pure melody or harmony. Niether instrument truly plays the "melody" of the composition. Rather, both often play parts that accompany each other, creating what would better be described as the musical mood.

At first, there is a heavily counterpoint-laden section which stays perfectly within the key signature. This soon progresses into a fast ostenato in the cello part, which becomes more and more abrasive with the accompanying piano until everything finally crashes to a halt in a tumultuous cluster chord. A new slow section begins and this ends the first movement.

The second movement continues, attacca, and shares the same form as the first. It would seem, at first, that there is a definite sense of tonality, but it will soon be interrupted by a faster section of chopped rhythms and heavy dissonance, finally ending in a chaotic series of tone clusters.

The final movement is much more reserved, and entirely atonal. The final movement is meant to set a mood rather than to provide a musical idea or melodic structure. The closing of the work is intended to be obscure, and leave the meaning up to the listener.

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Category:

Music

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