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Between Two Waves of the Sea
Conductor's score and parts on hire
978-0-19-355844-1
16 December 2004
Price: Available on request
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This work is a dialogue between the live orchestra and sections of pre-recorded orchestral music, which were composed especially for the piece and are triggered from a sampler. The recorded sections are rarely in the same tempo as the orchestra itself, and the music is a dialogue between two different kinds of time, or between life and death. Forces or CategoryFull orchestraDuration21 minutesDifficultyModerately difficult to
DifficultOrchestrationFOR THE LIVE SECTIONS: 3 fl (II&III+picc), 3 ob, 3 cl (III+E flat), 3 bn (III+cbn) - 4 hn, 3 tpt (III in D), 2 tbn, btbn, tba, timp, 3 perc, hp, elec gtr, pn (+sampler), str FOR THE PRE-RECORDED SECTIONS: As orchestration for the live section, except III fl +picc&bfl, no elec gtr, no pnProgramme NotesBetween Two Waves of the Sea was commissioned by Jane, Anne and John Arthur in memory of their parents, Jean and Peter. It received its world première on 15 December 2004 in Symphony Hall, Birmingham.
Its two movements, each lasting about ten minutes, are built around the
interplay between live orchestral music and pre-recorded sections, which were composed alongside the live material and are played via a sampler. The recording functions in various ways: sometimes it is barely audible, like something half-heard in the distance which gradually reveals itself; at others it is like a separate orchestra playing in the next room; at others again it challenges the live orchestra as its mirror image in passages of conflict. The two elements are rarely in the same tempo as one another and the interplay between them is like a dialogue between different kinds of time, or between life and death.
The recorded, or virtual part of the piece contains flashbacks and premonitions of things yet to come, and in the centre of the work it increases the density of
musical time, forcing nearly all of the material of the piece into just a few seconds. Towards the end, music which has been buried in the piece right from the beginning is allowed to emerge, and we hear the twelve fixed pitches which opened the work forming a new, valedictory music. This idea appears in T.S. Eliots poem Little Gidding, from which my piece takes its title:
We shall not cease from exploration
And the end of all our exploring
Will be to arrive where we started
And know the place for the first time.
Through the unknown, remembered gate
When the last of earth left to discover
Is that which was the beginning;
At the source of the longest river
The voice of the hidden waterfall
And the
children in the apple-tree
Not known, because not looked for
But heard, half-heard, in the stillness
Between two waves of the sea.
© 2004 Richard Causton
Reproduced by permission of Oxford University Press
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Richard Causton (b.1971) Richard Causton was born in London and studied at the University of York, the Royal College of Music and the Scuola Civica in Milan. He has worked with world renowned performers such as the BBC Symphony Orchestra, City of Birmingham Symphony Orchestra, Sinfonieorchester Basel, Rundfunk-Sinfonieorchester Saarbrücken, London Sinfonietta, and the Nash Ensemble. He has been the recipient of several awards, including First Prize in the International 'Nuove Sincronie competition, the Mendelssohn Scholarship and a 2004 British Composer Award in the Best Instrumental Work category for Seven States of Rain. He was founder of the Royal College of Music Gamelan Programme and held the
Fellow Commonership in the Creative Arts at Trinity College, Cambridge.Richard Causton's website
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The specification in this catalogue, including without limitation price, format, extent, number of illustrations, and month of publication, was as accurate as possible at the time the catalogue was compiled. Occasionally, due to the nature of some contractual restrictions, we are unable to ship a specific product to a particular territory. Jacket images are provisional and liable to change before publication.
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