Still Juniper Snow

Mathew Adkins (Composer), Sarah-Jane Summers (Performer), Bozzini Quartet (Performer)

Research output: Non-textual formComposition

Abstract

Still Juniper Snow is based on recordings of original acoustic pieces performed by Sarah-Jane Summers and the Bozzini Quartet, inspired by the Norwegian landscape where Summers lives as well as the Scottish and Norwegian folk traditions that she seamlessly blends. These recordings are subjected to various studio treatments to arrive at their final form. This process has its origins in Gerhard Richter’s overpainted photographs—I regard these pieces as musical palimpsests in which original acoustic compositions are reused, altered, effaced, or composed over, but still contain traces of the original form. Through the deliberate obfuscation of gestural content, I aim to leave only the atmosphere of the original compositions (influenced by Gernot Böhme’s writings on the aesthetics of atmosphere). The ways in which these techniques manifest themselves varies from movement to movement. In still hollow the original five-part canon is ‘read’ through a series of large ‘windows’, a technique derived from FFT analysis. The five-part form is maintained but much of the instrumental filigree no longer projects a sense of forward motion—the impression is that it is suspended, has become timeless, through the glacial linear surface development. In distant waters the process of compositional ‘overpainting’ is most evident as the original is almost completely obscured under a patina of processed and newly developed sonic materials. In spiral paths there is an almost geological overlaying of materials. In the first part of this movement the original solo fiddle line is fragmented and presented in large-scale looping phrases that gradually introduce more of the original material. Additionally, traces of the original quartet part are slowed down in the background whilst other materials are musically ‘erased’, apart from the reverb layer. The central part of the movement presents the most obvious effacing of musical gesture, in which the rapid fiddle passage is gradually distorted to become fragmented noise.
LanguageEnglish
Place of PublicationLondon
PublisherHuddersfield Contemporary Records
EditionHCR19
Media of outputCD
Size20 minutes
Publication statusPublished - 16 Nov 2018

Fingerprint

Atmosphere
Fiddle
Acoustics
Summer
Quartet
Spiral
Aesthetics
Solo
Blends
Canon
Folk Tradition
Overpainting
Water
Layer
Palimpsest
Patina
Filigree
Gerhard Richter
Gesture

Cite this

Adkins, M. (Composer), Summers, S-J. (Performer), & Quartet, B. (Performer). (2018). Still Juniper Snow. Composition, London: Huddersfield Contemporary Records.
Adkins, Mathew (Composer) ; Summers, Sarah-Jane (Performer) ; Quartet, Bozzini (Performer). / Still Juniper Snow. [Composition].
@misc{33ca814310fb49ef8126f721e6dfaa63,
title = "Still Juniper Snow",
abstract = "Still Juniper Snow is based on recordings of original acoustic pieces performed by Sarah-Jane Summers and the Bozzini Quartet, inspired by the Norwegian landscape where Summers lives as well as the Scottish and Norwegian folk traditions that she seamlessly blends. These recordings are subjected to various studio treatments to arrive at their final form. This process has its origins in Gerhard Richter’s overpainted photographs—I regard these pieces as musical palimpsests in which original acoustic compositions are reused, altered, effaced, or composed over, but still contain traces of the original form. Through the deliberate obfuscation of gestural content, I aim to leave only the atmosphere of the original compositions (influenced by Gernot B{\"o}hme’s writings on the aesthetics of atmosphere). The ways in which these techniques manifest themselves varies from movement to movement. In still hollow the original five-part canon is ‘read’ through a series of large ‘windows’, a technique derived from FFT analysis. The five-part form is maintained but much of the instrumental filigree no longer projects a sense of forward motion—the impression is that it is suspended, has become timeless, through the glacial linear surface development. In distant waters the process of compositional ‘overpainting’ is most evident as the original is almost completely obscured under a patina of processed and newly developed sonic materials. In spiral paths there is an almost geological overlaying of materials. In the first part of this movement the original solo fiddle line is fragmented and presented in large-scale looping phrases that gradually introduce more of the original material. Additionally, traces of the original quartet part are slowed down in the background whilst other materials are musically ‘erased’, apart from the reverb layer. The central part of the movement presents the most obvious effacing of musical gesture, in which the rapid fiddle passage is gradually distorted to become fragmented noise.",
keywords = "Electronic music, Bozzini Quartet, Sarah-Jane Summers, Gerhard RIchter",
author = "Mathew Adkins and Sarah-Jane Summers and Bozzini Quartet",
year = "2018",
month = "11",
day = "16",
language = "English",
publisher = "Huddersfield Contemporary Records",
edition = "HCR19",

}

Adkins, M, Summers, S-J & Quartet, B, Still Juniper Snow, 2018, Composition, Huddersfield Contemporary Records, London.
Still Juniper Snow. Adkins, Mathew (Composer); Summers, Sarah-Jane (Performer); Quartet, Bozzini (Performer). 2018. London : Huddersfield Contemporary Records.

Research output: Non-textual formComposition

TY - ADVS

T1 - Still Juniper Snow

A2 - Adkins, Mathew

A2 - Summers, Sarah-Jane

A2 - Quartet, Bozzini

PY - 2018/11/16

Y1 - 2018/11/16

N2 - Still Juniper Snow is based on recordings of original acoustic pieces performed by Sarah-Jane Summers and the Bozzini Quartet, inspired by the Norwegian landscape where Summers lives as well as the Scottish and Norwegian folk traditions that she seamlessly blends. These recordings are subjected to various studio treatments to arrive at their final form. This process has its origins in Gerhard Richter’s overpainted photographs—I regard these pieces as musical palimpsests in which original acoustic compositions are reused, altered, effaced, or composed over, but still contain traces of the original form. Through the deliberate obfuscation of gestural content, I aim to leave only the atmosphere of the original compositions (influenced by Gernot Böhme’s writings on the aesthetics of atmosphere). The ways in which these techniques manifest themselves varies from movement to movement. In still hollow the original five-part canon is ‘read’ through a series of large ‘windows’, a technique derived from FFT analysis. The five-part form is maintained but much of the instrumental filigree no longer projects a sense of forward motion—the impression is that it is suspended, has become timeless, through the glacial linear surface development. In distant waters the process of compositional ‘overpainting’ is most evident as the original is almost completely obscured under a patina of processed and newly developed sonic materials. In spiral paths there is an almost geological overlaying of materials. In the first part of this movement the original solo fiddle line is fragmented and presented in large-scale looping phrases that gradually introduce more of the original material. Additionally, traces of the original quartet part are slowed down in the background whilst other materials are musically ‘erased’, apart from the reverb layer. The central part of the movement presents the most obvious effacing of musical gesture, in which the rapid fiddle passage is gradually distorted to become fragmented noise.

AB - Still Juniper Snow is based on recordings of original acoustic pieces performed by Sarah-Jane Summers and the Bozzini Quartet, inspired by the Norwegian landscape where Summers lives as well as the Scottish and Norwegian folk traditions that she seamlessly blends. These recordings are subjected to various studio treatments to arrive at their final form. This process has its origins in Gerhard Richter’s overpainted photographs—I regard these pieces as musical palimpsests in which original acoustic compositions are reused, altered, effaced, or composed over, but still contain traces of the original form. Through the deliberate obfuscation of gestural content, I aim to leave only the atmosphere of the original compositions (influenced by Gernot Böhme’s writings on the aesthetics of atmosphere). The ways in which these techniques manifest themselves varies from movement to movement. In still hollow the original five-part canon is ‘read’ through a series of large ‘windows’, a technique derived from FFT analysis. The five-part form is maintained but much of the instrumental filigree no longer projects a sense of forward motion—the impression is that it is suspended, has become timeless, through the glacial linear surface development. In distant waters the process of compositional ‘overpainting’ is most evident as the original is almost completely obscured under a patina of processed and newly developed sonic materials. In spiral paths there is an almost geological overlaying of materials. In the first part of this movement the original solo fiddle line is fragmented and presented in large-scale looping phrases that gradually introduce more of the original material. Additionally, traces of the original quartet part are slowed down in the background whilst other materials are musically ‘erased’, apart from the reverb layer. The central part of the movement presents the most obvious effacing of musical gesture, in which the rapid fiddle passage is gradually distorted to become fragmented noise.

KW - Electronic music

KW - Bozzini Quartet

KW - Sarah-Jane Summers

KW - Gerhard RIchter

UR - https://www.nmcrec.co.uk/huddersfield-contemporary-records/bozzini

M3 - Composition

PB - Huddersfield Contemporary Records

CY - London

ER -

Adkins M (Composer), Summers S-J (Performer), Quartet B (Performer). Still Juniper Snow London: Huddersfield Contemporary Records. 2018.