I composed Edaneres (Serenade spelled backwards) in the springof 1981 as an experimental study in sound. It’s a piece where I tried out a technique of large-scalepitch construction and layering. Thebackground harmony of the work pulsates cyclically between two poles. In-between these two points of reference spana series of intervening hexachordal harmonies that gradually traverse andeventually terminate on one pole or the other - only to loop back and do it allover again. I chose pitch-class sets at each pole for maximum intervallic contrastbetween the two extremes, but along the way, change happens in gradual steps.
After the scaffolding of an underline background harmony wasdesigned, I constructed a matrix extracted from pitches available in thecurrent base harmony while looking closely at each register along thehorizontal line. I chose appropriatepitches in each register while aiming for (but not dogmatically insisting upon)aggregate completion within every octave span across what I anticipated wouldultimately result in coherent musical phrases. Care was taken to carryover (or “suspend”)available common tones between hexachordal intersections that resulted naturallybetween the measured, but gradually evolving harmonic changes.
Several longer lines of canti-firmiwere then crafted and extracted from the otherwise saturated backgroundpitch-texture of the grid based on potential melodic character and contour.
This overall compositional process became the basicstructure for the pitch-based instrumental layer of this short musicalexperiment.
To make things a little more interesting, I added a mildly hyperactivepiano part on top of the orchestral accompaniment to function as musical antagonist. Its layer of music invokes contrary ideas asit sounds in opposition the primary oscillating six-note harmony. The pianopart plays off against the orchestra by articulating the other six notes (orset complement)throughout the work’s internal discourse. The piano as an instrument is uniquely suited for this opposing rolebecause of its unique timbre, ability to play thick chords, broad dynamics, andwide register.
After the musical roadmap was in place, I worked out the surface-levelmusic for Edaneres in a manner similar to any other traditional piece – paying specialattention to musical gestures, individual lines, and contemporary instrumentaltechniques: not to mention adding in a few jazzy riffs t'boot. I also strove inject a spontaneous yet discerniblemusical narrative into the music that would enable the musicians to metaphoricallysurf along the waves of the constantly-evolving underline harmonic progression.
In retrospect, I consider Edaneres to be a student work. It’s also relic from a bygone era of musicalthought and out-of-fashion musical aesthetics. I composed it as a soundexperiment essentially to hone (what wasfor me at the time) a still-emerging musical language and new technique.
Edaneres was professionally sight-read in a laboratorysetting where I was graciously supported by my mentors and peers. In addition to myself, the group of Fellows that summer included what would turn out in time to be a very impressive list of composers. They were (not listed in any particular order): James Primosch, John Watrous, David Felder, Yinam Leef, Michael Gandolphi, Rand Steiger, Gudmunder Halfsteinsson, and Ronald Caltabiano. Also present that summer were Susan Blaustein and Robert Beaser.
Not only did I get to hear my piece realized atthe Yale Norfolk Summer School of Music under the coaching and baton of newmusic champion Arthur Weisberg (1931-2009), but I received some valuablefeedback from master musicians and composers in residence that summer.
In particular, I recall some of the comments and reactions bymy musical mentors. Elliott Carter (b.1908) beamed and said, “I like it.” He thoughtthat the little tag at the end signified a potential continuation or newsection. Don Martino (1931-2005) thoughtthat the dynamics needed more refinement in order to profile the various layersof musical idea amidst an otherwise complex texture. Specifically he thoughtthat the long sustained tones of the cantifirmi could have been notated mezzopiano. Jacob Druckman (1928-1996) commentedon orchestration and about my use of surface-level gestures - correctly pointingout that I over-used certain modes of attack in the piece. Later, while listening to Edaneres on tape,Milton Babbitt (1916-2011) commented generally about the use of rhythm - on amacro and micro scale - suggesting that I might consider a more-rigorous organizationof the time dimension in my work. It wasall great feedback, and I learned a great deal from the combined experience andcollective, constructive criticism.
The history surrounding the reading of Edaneres also sticksin my memory for extra musical reasons. I crammed to get the ambitious piece done ontime, and slipped into a state of sleep deprivation from working non-stop oncopying orchestral parts for the pre-scheduled reading session. The ink was still wet on the page. I actually fell ill from dehydration, the hotweather, and fatigue. After my piece wasplayed, I crashed mentally and physically from exhaustion.
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