Duration – 11:40
Four Sculpted Bagatelles, for Clarinet and String Quartet (2002)
Inspired by the sound Sculptures of Don Dickson
From the Sound Sensations Concert Program by the Chamber Music Society of Mississauga, Peggy Hills McGuire, Artistic Director (January 27,2002)
This program has meant many things to different people. It began with Peggy’s idea of using the visually compelling sculptures of Don Dickson in a program inspired by these sculptures. Since they are often installed outdoors in formal gardens and parks and with the concert happening in early spring, it started to become an exploration of music that was relating to gardens and nature and what wonderful sounds we hear through our windows in the mornings as spring awakens. It is the birds primarily that come to mind. Who hasn’t lain in bed those extra few minutes and listened to the birds in the garden and smelled that heady aroma of the spring hyacinths and of course the lilacs! We couldn’t bring you the smells of spring but we have a program of the sound sensations of the awakening of spring.
To Ronald Royer as he explored the ideas of relating traditional musical sounds to these sound sculptures this program had a theme of humankind seeking its appropriate place in nature. Ronald’s Four Sculpted Bagatelles were composed as a personal musical interpretation of each of the four sound sculptures. Don Dickson was inspired by the Mussofgsky/Ravel version of the Great Gate of Kiev from Pictures at an Exhibition: and so Ronald has attempted to create his own composition which has some of the grandeur and majesty of both the Mussorgsky/Ravel and Dickson art works.
Don Dickson’s sculptures create opportunities for integrating metal, arguably the most human-made substance into natural landscapes. The musical programme is inspired by Don Dickson’s sculptures and the compositions have been selected and composed which parallel the theme of integrating art and nature. Since Don’s sculptures are sound sculptures, the composers Ronald Royer and Alexander Rapoport have been able to integrate them as musical instruments. Music for the sculptural interludes will explore the sounds of the sculptures and their potential for integration with the human voice and traditional concert instruments.