On Walmer Beach
for Cor anglais & Bassoon Duo*
A modular piece in 3 parts
Level: Moderately Advanced
Duration: 4.5 mins
*Alternative instrumentation scores to follow (Saxes, Clarinets, Lower Strings)
for Cor anglais & Bassoon Duo*
A modular piece in 3 parts
Level: Moderately Advanced
Duration: 4.5 mins
*Alternative instrumentation scores to follow (Saxes, Clarinets, Lower Strings)
Dedicatees Kathleen Carter Bell & Conor Bell rehearse On Walmer Beach prior to their World Premiere performance on Sunday 12 November 2023 at 3 p.m. in the Harrington Fine Arts Complex Recital Hall, School of Music, West Texas A&M University, Canyon, TX, USA
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The Story
Walmer in Kent, England, is located by the English Channel, seven miles north of the Port of Dover. On fine days it is possible to see the French coast from the beach - as well as to watch the many car ferries that cross the water throughout the day and night.
From May 2015 to December 2017, my husband and I resided temporarily in Walmer - taking a break from life in London. From our rented house in Cambridge Road, we were able to see the sea from the bathroom window - and to walk on the beach within one minute! Walmer has a fine shingle (pebble) beach which - although it is less romantic than a sandy beach - is far better for year-round walking. I made great use of it during my time there; and would often get up early in the morning in November, particularly, to photograph the dawn, which was at its best at that time of year, owing to the low angle of the sun in the sky. The play of light on the water, the crimson hues of the clouds were stunning: and can be seen on the photographs on the score.
It was during my time in Walmer that I began to develop as a composer. Not only did I study the technique of composition, but I was also greatly inspired by the beautiful environment. Pieces dating from that time are Vallum Mare: An Adventure Suite; Ego Flos Campi; and Soyuz Departing. Various pedagogical works also came to life, during that sojourn.
On Walmer Beach was composed in November 2022 as a 'thank you' to my American collaborators Kathleen and Conor Bell, for all the work that they have put into helping me to bring several pieces into the public domain. We had a such busy year in 2022! I composed Byzantion I - Hagia Sophia for them and American pianist Stephen Ellis, as part of the International Double Reed Society 50-for-50 Commissioning Project. Just like On Walmer Beach, Hagia Sophia is scored for Cor anglais & Bassoon (and Piano), rather than Oboe & Bassoon. One reason for this is the excellent blend. In my opinion, Cor and Bassoon sound far better together than Oboe & Bassoon: and I am surprised that there are so few pieces for this combination.
In the Autumn of 2022, Kathleen, Conor and pianist Tiantian Liang undertook several audio and video recording sessions at First United Methodist Church in Lebanon, Tennessee. The works were Ego Flos Campi , Troparion, The Church at Errislannan & Fantasia Dodecaphonica - in addition to Byzantion I - Hagia Sophia . Their videos can be viewed on the linked feature pages.
From May 2015 to December 2017, my husband and I resided temporarily in Walmer - taking a break from life in London. From our rented house in Cambridge Road, we were able to see the sea from the bathroom window - and to walk on the beach within one minute! Walmer has a fine shingle (pebble) beach which - although it is less romantic than a sandy beach - is far better for year-round walking. I made great use of it during my time there; and would often get up early in the morning in November, particularly, to photograph the dawn, which was at its best at that time of year, owing to the low angle of the sun in the sky. The play of light on the water, the crimson hues of the clouds were stunning: and can be seen on the photographs on the score.
It was during my time in Walmer that I began to develop as a composer. Not only did I study the technique of composition, but I was also greatly inspired by the beautiful environment. Pieces dating from that time are Vallum Mare: An Adventure Suite; Ego Flos Campi; and Soyuz Departing. Various pedagogical works also came to life, during that sojourn.
On Walmer Beach was composed in November 2022 as a 'thank you' to my American collaborators Kathleen and Conor Bell, for all the work that they have put into helping me to bring several pieces into the public domain. We had a such busy year in 2022! I composed Byzantion I - Hagia Sophia for them and American pianist Stephen Ellis, as part of the International Double Reed Society 50-for-50 Commissioning Project. Just like On Walmer Beach, Hagia Sophia is scored for Cor anglais & Bassoon (and Piano), rather than Oboe & Bassoon. One reason for this is the excellent blend. In my opinion, Cor and Bassoon sound far better together than Oboe & Bassoon: and I am surprised that there are so few pieces for this combination.
In the Autumn of 2022, Kathleen, Conor and pianist Tiantian Liang undertook several audio and video recording sessions at First United Methodist Church in Lebanon, Tennessee. The works were Ego Flos Campi , Troparion, The Church at Errislannan & Fantasia Dodecaphonica - in addition to Byzantion I - Hagia Sophia . Their videos can be viewed on the linked feature pages.
Theoretical Notes
The work consists of three miniatures, each of about 1' 20" in length. It is a modular piece, meaning that performers can either play through from start to finish, or just select one or two parts of it.
On Walmer Beach is a set of short variations upon an initial wave-like theme played first by the cor anglais; then varied by the bassoon in Aubade; before the cor resumes the lead in Water's Edge II. Each movement has a different time signature, and this affects the development of the wave motif.
The piece becomes increasingly abstract and elliptical, as it progresses. This is by design. It was my objective to move from my natural twenty-first century post-minimalist writing style (noticeable in the structured nature of Water's Edge I) into the linear freedom which is a common feature of twentieth-century music. In Water's Edge II, the two instruments move more independently, coming into alignment and then moving away from it. The bassoon is frequently higher than the cor anglais; and the piece ends with a question.
On Walmer Beach is a set of short variations upon an initial wave-like theme played first by the cor anglais; then varied by the bassoon in Aubade; before the cor resumes the lead in Water's Edge II. Each movement has a different time signature, and this affects the development of the wave motif.
The piece becomes increasingly abstract and elliptical, as it progresses. This is by design. It was my objective to move from my natural twenty-first century post-minimalist writing style (noticeable in the structured nature of Water's Edge I) into the linear freedom which is a common feature of twentieth-century music. In Water's Edge II, the two instruments move more independently, coming into alignment and then moving away from it. The bassoon is frequently higher than the cor anglais; and the piece ends with a question.
