Four movements for violin, B-flat clarinet doubling B-flat bass clarinet, and CD tracks of found sounds from the Salmon River
1) Postcard (w/Ava, Skyler, & Simon)
3) No Return
4) Night Sit
No Return is a live performance piece for violin, clarinet doubling bass clarinet, and pre-recorded sounds. Both instruments should be amplified to balance the pre-recorded sounds. The piece also requires a third performer – preferably at the mixing board – to cue the CD. Each movement requires a different kind of synchronization with the CD, as specified in the score and as follows:
1) CD Track 1 begins the piece and runs throughout. It sets tempo and must be adhered to carefully. Cues of significant events are written into the instrumental parts, along with annotation.
2) CD Track 2 begins when the players reach measure 87, as indicated in the score. If the players finish before the end of the track, it should be faded out over the next 5-10 seconds.
3) CD Track 3 begins the movement. It is relatively short and should be overlapped by the players’ entrance. CD Track 4 should be started at the beginning of Part Two, m. 140. Players’ parts must sync to this track, which runs to the end of the movement.
4) CD Track 5 should fade in for 5-10 seconds before players begin; it then runs continuously until the players finish, at which point it should fade for a longer period of time, perhaps 20-40 seconds.
Additional live processing is required. In movement three, the violinist should have a switchable harmonizer, pre-set to sound a first-inversion major chord UNDER the sounding pitch. This is turned on and off as indicated in the score. The violinist also needs to be able to electronically loop small sections of material, then mute the loop, again as indicated in the score. In movement four, both instruments, particularly the clarinet, should be given considerable reverb, so that notes overlap and form chords.
No Return: River Impressions 2002 was commissioned by the Sun Valley Center for the Arts as part of the Whole Salmon Exhibition. This commission was made possibly by generous gifts from Katherine Abelson and the Jeri L. Waxenberg Foundation. The first performance took place in Ketchum, Idaho in January 2003, with Todd Reynolds, violin, and the composer on clarinet.