Composition

Notes

SonataforCelloandDrones–inonemovement Thispiecetakesasingleidea,theaugmentedtriad,and stretches it out – literally! – over the course of the whole work. All of the pitch material comes from the augmented triad, but each instrument uses a different interpretation. The organ has the most limited interpretation, using only the three pitches of a single triad at any one time. The piano has always had six notes available, and the cello nine. (The additional notes are
generated by stacking fifths above the notes of the augmented triad):
From this arrangement of pitch springs the whole piece. Because each instrument aligns somewhat with the others, but not completely, the work constantly drifts between consonance and dissonance – between moments of convergence and divergence. The organ in particular stands alone as an otherworldly voice, slowly and diligently keeping track of exactly where we are in the piece.
And just as there are multiple overlapping pitch sets happening at once, so too are there multiple elements of form occurring. The piece is in a mostly traditional Sonata-Allegro form, but it is also in a way a whole three-movement sonata in itself, employing the traditional fast-slow-fast scheme. Alternately, you could view it as twelve distinct parts, held together by a pitch scheme and repeating themes.
My hope is that through these simultaneous layers of pitch and form the listener can constantly find new ways of experiencing the unfolding of the piece, and potentially even switch through various modes of hearing in one sitting.
This piece is dedicated to Tom Flaherty and Genevieve Lee as an expression of my gratitude for all their time, guidance, and encouragement during and after my time at Pomona.
–WA