Flautist Sarah Bassingthwaighte commissioned Pater Noster's Tricyclic Companion in 1998. Inspired by her energetic personality and great command over fast passage-work, I wrote a virtuosic display piece emphasizing driving, syncopated rhythms and a dense, layered accompaniment.
Unlike may pieces for instrument and tape, this work's tape part contains "lots of notes." Rather than utilizing washes of transforming sound, I notated the work in a more traditional fashion (in "piano score") and then "orchestrated" it for a mixture of MIDI synthesizer, computer-controlled acoustic piano, and computer synthesis sound sources (via Common Music and Csound).
Much of the rhythmic and pitch character of the work arises from the systematic application of a number series: [3 4 4 5]. Note that these numbers sum to 16. Much of the work could be considered to be in 16/16, which continual rotation of groupings of 3, 4, 4, and 5 sixteenths. Most listeners will be inclined to tap in familiar 4/4, feeling the continuing shift of the groupings as a hint of warped, jazz-like syncopation.
The title has no particular meaning — as far as I'm aware. It came to mind one day while I was working on the piece and I wrote it down, wondering what "Pater Noster" actually meant. The title still sounded apropos two months later, and I chose to use it. It feels to me to be just short of the strangely familiar — matching what I consider to be an essential character of the piece.
Performance Details and Materials
In exchange for me providing these materials for free, please contact me if you perform this piece. I would be pleased to add your performance to the list below.
- 2 Jan 2011
- Added pickup flz/gliss at end of first measure
- Corrected accent placements in mm. 7, 13, & 33
- Edited accidentals in m.97 for consistency
- Added notation clarifcation comments to the performance instructions
- Sep 2013 – Wyoming Flute Day – performed by Linda Antas
- Jul 2013 – Nonclassical, London, UK – performed by Carla Rees
- Jul 2012 – Rarescale Summer Concert Series, London, UK – performed by Carla Rees
- Feb 2012 – From the Soundhouse, Royal College of Music, London, UK – performed by Carla Rees
- Luminíco 2011 tour (in excerpt) —performed by Alejandro Escuer
- Dec 2011 – Programa Index MUAC, Auditorio Museo Universitario de Arte Contemporáneo. Ciudad de México, México
- Dec 2011 – Fonoteca Nacional: Confrontación Sonora y visual entre la Ciudad de Nueva York y la Ciudad de México, México
- Nov 2011 – Audio Art Festival 201, Kraków, Poland
- Nov 2011 – Alte Schmiede, Vienna, Austria
- Nov 2011 – Music, Technology and Innovation, De Montfort University, Leicester, UK
- Nov 2011 – Creative Music Technology, University of Hull at Scarborough, UK
- Nov 2011 – WAVES, CBSO Centre. Birmingham, UK
- Nov 2011 – Festival Punto de Encuentro, Valencia, Spain
- Nov 2011 – KLEM, Laboratorio de Electroacústica de Bilbao, Spain
- Nov 2011 – GroundSwell, Winnipeg, Canadá
- Nov 2011 – Department of Fine and Performing Arts,
University of Chicago, USA
- Oct 2011 – IV Festival Internacional Discantus
Zócalo Puebla, México
- Mar 2001 – Music, Technology and Innovation, De Montfort University, Leicester, UK —performed by Sarah Bassingthwaighte
- Oct 1999 — Beijing, China - International Computer Music Conference — performed by Patricia Spencer
- Dec 1998 — Seoul, Korea - Korean Electroacoustic Music Society
- Apr 1998 — Meany Theater, Seattle - Seattle Electroacoustic Music Festival — performed by Sarah Bassingthwaighte
|See the recordings page for available recordings of this work.