Rapt Afterness

Ken Ueno

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General Info

Year: 2015
Duration: c. 13:00
Difficulty: (see Ratings for explanation)
Publisher: Unknown
Cost: Score and Parts - Unknown

Instrumentation

Full Score
B-flat Solo Clarinet
C Piccolo
Flute I-II-III-IV
Oboe I-II
Bassoon I-II
B-flat Soprano Clarinet I-VIII
B-flat Bass Clarinet
E-flat Alto Saxophone I-II
B-flat Tenor Saxophone
E-flat Baritone Saxophone
B-flat Trumpet I-II-III-IV
Horn in F I-II-III-IV
Trombone I-II-III-IV
Euphonium I-II
Tuba I-II
Percussion I-II-III-IV-V

(percussion detail desired)

Errata

None discovered thus far.

Program Notes

Musical resonance is complex and beautiful to me. I hear the aggregate resultant of the sound emanating from the love and labor of each musician on stage, the hours of practice, and, in the case of listening to a premier of my own music, the energy of a future event contemplated alone in my studio, realized and resonating in an acoustic space that is shaped not only the architecture of the performance hall, but also the physical body and the psychic empathy of the audience. It might sound strange, but I often “hear” empathy – maybe I will it so, since I believe one of the main functions of art is to curate empathy. But it takes risk and hard work. And trust.

I am lucky that for most of my professional musical life I have had a collaborator and friend I could trust. His name is Greg Oakes. Greg is one of the world’s great clarinet virtuosos and we have collaborated now for close to twenty years. This piece pays tribute to some of our past collaborations by revisiting some of the techniques that I had incorporated into past pieces I had written for him (e.g., the copious microtonal alternate fingerings on G – “resonance” is also a presence of history in the now). The intricacies of rhythm and the extreme endurance that the solo part requires are further aspects of trust – yes, I know it’s damn hard, but I know Greg is a badass and can do it, so I let my musical imagination run unshackled and there it is, raw and unfiltered. That trust also allowed me to develop newer aspects in my music too – the cadenza featuring multiphonic clarinet trills accompanied only by pitched metallophones is an example.

“We live in a dim inkling or a rapt afterness,
But something was here...”

– Racoon Time by Rodney Jones

- Program Note by composer

Media

(Needed - please join the WRP if you can help.)

State Ratings

None discovered thus far.

Performances

To submit a performance please join The Wind Repertory Project https://www.youtube.com/watch?v=wM3IDezuGx8 premiere

Works for Winds by This Composer

Resources

Ken Ueno website Accessed 1 September 2018