Radiate

Opening – The cycle begins with foundational segments of 2R, set in counterpoint for alto flute and bass clarinet. The group closes with the segments set in a slow, homophonic texture.

Groups I, III, and V – Scored for glockenspiel solo, the 18 measures of Group I are divided into four sections. Each of the sections contains its own discrete fixed pitch set and tempo, derived from the central section of 2R. Group I serves as the schematic imprint for Groups III and V. However, the four sections of Group I are rearranged in the Group III, and V imprints.

Groups II, IV, and VI – Alto flute and bass clarinet introduce a discrete five-note set in the opening of each group. The sets are derived from the violin part in Groups I, II, and III, of Part II. The Part I Group II scheme is then imprinted in Groups IV and VI.

Groups I, II, III, IV, V – Each of the groups in this portion of the cycle features a discrete five-note fixed pitch set for violin. The accompanying four-note, fixed pitch sets for vibraphone are built around those of the violin. Group I is divided into four sections. The four-part division of the initial group reiterates the four-part structure of the glockenspiel groups in Part I. Part II Group I then provides the schematic imprint for Groups II, III, IV, and V.

Groups I, III, V – Alto flute and bass clarinet restate, in varied form, harmonic and thematic material from the glockenspiel groups in Part I. Group I provides the schematic imprint for Groups III and V, with the order of the segments rearranged in the imprint groups.

Groups II, IV, VI – Marimba solos separate the wind duets. The opening five-note fixed pitch set of Group II is varied and repeated four times within the group. The scheme is the final appearance of the four-part structure used for the glockenspiel and vibraphone groups in Parts I and II. Part III Group II then serves as the schematic imprint for Groups IV, and VI. At the conclusion of each marimba solo, violin closes the group with a short codetta; the first of which provides the scheme for the following two imprints.

Paul Christopher – Cello

2R for solo cello concludes the cycle. The organization of the piece is centered around four parameters: pitch, tempo, dynamics, and mode of attack. These parameters play an important role in the work’s formal design.

Pitch – A primarily chromatic, 12-note fixed-pitch set is used throughout the piece. As 2R unfolds 10 of the pitches are transposed up, one at a time, one or two octaves, until concluding with a repositioned 10-note set.

Tempo – The piece contains four primary tempos, each assigned to one of four dynamics: ff, f, mf, pp. One of the tempos with corresponding dynamics is also assigned to one of two specific modes of attack. A basic quarter note pulse of 54 is used for the molto sul tasto sections throughout the piece. However, the molto ponticello sections are expressed as a proportion of the given tempo, operating as the first of two temporal sub-structures.

Structural design – 2R is comprised of two broad regions, dividing the piece into approximately equal halves. Region I is temporally centered around a quarter note pulse of 86. Region II is centered around a quarter note pulse of 72. Within their respective regions, the two base tempos alternate with the mode of attack tempos, frequently interrupted by sporadic, metric subdivisions which emerge as the second temporal sub-structure. The oppositional segments are fractured into layers and juxtaposed with increasing irregularity, assimilating into contrapuntal time blocks creating a friction in the time-flow of the piece. In the central section of region two, the metric subdivision and mode of attack tempos gradually overtake the base tempo; the individual segments begin to unravel, and the time polyphony disperse. The piece closes with a final distillation of these disparate elements into a single musical line.

2R for solo cello serves as the cycle’s dénouement. In Part IV many of the musical threads presented throughout the course of Radiate are ordered and contextualized, providing the cycle with a fundamental thematic unity and a harmonic cohesion.

2R - Region II