Small
Circus features a suite of compositions for harpsichord and a set of improvised
solo piano variations entitled Some Robins For Abigail.
I recorded
the harpsichord pieces in 1985 played on a double manual slack strung
harpsichord made by Matthew James Redsell of Toronto.
I had
always loved the harpsichord, having first heard a recording of the great Wanda
Landowska playing JS Bach when I was a boy of about 10.
I was just
learning the piano, and while I loved the piano, the huge phasey silvery sound
of the harpsichord with the characteristic bite of the quill on the string
captured my imagination.
The
instrument seemed so very ancient to me, a wooden time machine, and I dreamed
of one day having a harpsichord.
The first
decent instrument I had was a 9 foot long Sabathil double manual with pedals
loaned to me by Matthew. It had a 16 foot stop, 2 8's and a 4 foot stop,
switchable by the pedals, which was great for odd textural experimentation. I
recorded Ancient Ships and For Gail (on the CD Ancient Ships) with this
instrument in 1979.
The
Sabathil was great fun to play, but it was a bit of a compromise between a
piano and a harpsichord in that it had a steel frame which provided some tuning
stability but which made for a less interesting sound than I wanted.
Eventually
Matthew provided me with one of his own hand built instruments which I used to
write the Small Circus suite and also a suite I called Songs For The Stubborn
World.
I
performed Songs For The Stubborn World a few times, including once in
the Museum of the Seminary in Quebec City. I think some of the audience who had
come for a nice little harpsichord recital were a bit shocked at the intensity
of the music. It was very hard to play, being based on rapid ostinato figures (
ostinato means stubborn),
whereas
the Small Circus suite has some changes of mood which give a performer a moment
to calm down a bit and also allow the audience to breathe.
The Small
Circus suite starts with Small Circus I and II, the first part a somewhat
French sounding melody in 5/4, the second a brief quasi atonal interlude for
the short strings. Small Circus III is a strident accompaniment for a high wire
act, again in 5/4, at least some of the time.
Out Of My
Hands is performed using the lute stop on one manual with the 4 foot stop on
the other manual. II'm not sure what the title really means as it was named by
my 3 year old daughter. It sounds a bit sad to me but I love the sound of those
plucked strings, lots of shimmering high harmonics. My daughter also named They
Walk Like This, as she did her best " I am a huge giant" dance down
the hall in time to the music. I would call this unrepentant baroque rock
pattern music ....maybe.
Another
Door does sound to me as if the blast of energy from They Walk Like This has caused
an unseen door to open and through it we can hear this peculiar plucked
music played perhaps in a dark marbled hallway, maybe the Seminary, maybe in a
tower. Or maybe it's in a tin ceilinged Ontario farm house living room in
the middle of a March blizzard. The final piece in Small Circus is a
pattern piece my daughter named I Wonder What's That? and I also wonder
sometimes, especially in the middle of the piece while I am performing it. I no
longer have a harpsichord so I have adapted the suite for piano and play it in
my concerts and there are a few scary spots, but I love the energy that builds
towards the end. This suite is all composed, but parts of it end up different
each time in performance because I sometimes forget bits and other times I add
in parts I seem to have just remembered.
I recorded
Small Circus with a pair of Neumann U87 microphones on a custom 1/4 inch half
track tape deck. In 2007 Ken Burke of Vancouver kindly transferred my 22 year
old master tapes to 24 bit digital files and I used Logic Audio to
assemble the tracks. I initially tried equalizing the tracks a bit but I
decided to leave them as they are in all their their bright punchy glory. Best
of both worlds, I think, good analog masters digitally processed. There is a
small amount of two different convolution reverbs on the tracks, varied
slightly depending on which manuals are in play.
Some
Robins For Abigail is a set of 4 improvised variations named for my daughter
the namer of music; they were recorded on my 1912 6 foot Steinway before Small
Circus, when she was still an infant, and she displays her tiny voice at the
very end of the last piece. If you listen carefully, you can hear the door to
my studio swing open with a little creak, while I am wrapping up the improvisation.
I looked to my right and there was the babe in arms; I shook my head
gently...no, no, no, while continuing to play, the door creaks shut , a foot
falls in the hall, and the baby says "waah". Very musically.
I was
playing a lot of Messiaen at the time, and I loved his incorporation of bird
song. This was my attempt, in part, to capture the emotion I feel on hearing
the song of the robin in early evening during the first weeks of Spring after
the winter snows are gone. The beautifully complex evening song is made up of
varying groups or cells of song and I always marvel at its variety , its
gorgeous timbres and at how it can stop time.
These are
free variations, nothing written, the only structure provided by reference to
the bird calls here and there. I think I must have done a few of these and then
chosen the ones I liked, but I don't remember for sure and there are no more
tapes lying around.
I named
the piece to honour both my daughter and the song of the robin.
The
reviewer Wilder Penfield wrote in 1986 in the Toronto Sun that Small Circus
showed "quirky flights of solo fancy, not meticulous, but humanly
mannered, tumbling tastefully through the most playful of patterns."
He also wrote that "Small Circus is a personable fusion that busts through
barriers the way Keith Jarrett does, but on a more modest scale and in better
humor." Down with the barriers, I say, and there is nothing better
than a good laugh.
Patrick