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- Anthony Payne
Paraphrases And Cadenzas (1969)
- Chester Music Ltd (World)
Programme Note
PARAPHRASES AND CADENZAS was composed during the Autumn of 1969 in answer to a request for a chamber piece for clarinet, viola and piano to be played in the ‘Music In Our Time’ concerts. The ‘paraphrases’ in question, of which there are three, rework and vary material from my PHOENIX MASS- but without and programmatic intentions. After each of the paraphrases there is an accompanied cadenza, first for the clarinet, then for the piano. Amd finally for the viola, after which there is a brief reflective coda. All three sections play without a break.
Each of the cadenzas has a different structural role. The clarinet’s holds the music in suspended animation after the static, toccata-like figuration of the preceding paraphrase. The piano cadenza extends the aggressive dynamism of the second paraphrase, bringing it to a climax then relaxing, while the viola’s applies a hard brake to the accumulated tension of the third paraphrase.
In each paraphrase a single interval predominates. These progress from the semitone that launches the first to the whole-tone on which the second is built and on again to the major and minor thirds of the last section.
I made some revisions of detail;s in the first and second paraphrases for a performance given by the Nash Ensemble in Paris in 1979. The first British Performance of the revised version was given on 5 January 1982 by Capricorn at a New Macnaghten Concert.
Anthony Payne 1979
Each of the cadenzas has a different structural role. The clarinet’s holds the music in suspended animation after the static, toccata-like figuration of the preceding paraphrase. The piano cadenza extends the aggressive dynamism of the second paraphrase, bringing it to a climax then relaxing, while the viola’s applies a hard brake to the accumulated tension of the third paraphrase.
In each paraphrase a single interval predominates. These progress from the semitone that launches the first to the whole-tone on which the second is built and on again to the major and minor thirds of the last section.
I made some revisions of detail;s in the first and second paraphrases for a performance given by the Nash Ensemble in Paris in 1979. The first British Performance of the revised version was given on 5 January 1982 by Capricorn at a New Macnaghten Concert.
Anthony Payne 1979