Double Reed News: Pan-dora

I am pleased to announce that in this autumns issue of "Double Reed News", The magazine of the British Double Reed Society, is an article about myself, and my bassoon/laptop piece "Pan-dora". Also presented is my friend Sylvia Lim and her solo oboe piece "Orée".

 One thing was missing in the article.
Mr. Meyrick Alexander´s review of Ruth´s recital and my piece:

A PREMIERE OF A NEW BASSOON PIECE

On June 1st 2012 Ruth Hardwick performed her fourth year degree recital at the Guildhall School of Music and Drama in front of the external examiner Robin O'Neill and senior members of staff. 

Ruth played a nicely varied programme which included Vivaldi's Concerto F8 No7 in A minor, Sarabande et Cortege by Dutilleux, Solo by Vladislav Shoot, Gordon Jacob's Suite for Bassoon and String Quartet and the premiere of Pan-dora, the Uncooperative Machine by Helgi R. Ingvarsson.

As one of Ruth's former teachers, I was very attentive to her whole recital but it was Pan-dora which aroused the most interest as a new piece in the repertoire is always welcome.

The composer provided an explanatory note: the piece was created as a result of "his first attempt to set up a MAXmsp patch and instead of worrying that something might go wrong he decided to write the error into the music." Two players take equal precedence on the stage: the bassoonist and a laptop, the screen facing the audience. There are two microphones, one for each participant. The bassoonist begins the piece lyrically and then plays a loud multiphonic into the laptop's microphone. This stirs the machine into life and it begins to provide an accompaniment. All is well for a time but the piece continues as a battle of will between the two as the machine has a mind of its own, apparently.  The laptop's screen changes colour as the action progresses and the performance ends with the bassoonist storming off leaving the machine as the victor - a triumph of mechanics over emotion as the performer becomes exasperated.

The success of any performance of such a piece rests on the stage presence of the performer, as well as considerable playing expertise, and on this occasion Ruth's theatrical expressions and gestures had the audience in laughter throughout and a huge cheer greeted the end. The sounds emanating from the machine were well designed to be complementary to the instrument and I believe this piece is a useful addition to the number of pieces involving extended techniques and versatility which are required by all colleges in their final recitals.

Meyrick Alexander

A copy of the score is included in the magazine. Here is the 1st page.
For the MAXmsp patch and the soundfiles contact helgirafn@gmail.com.