The CD included may provide the recorded part from 16 (4 repetitions of bb. 1-9). However, this part maybe pre-recorded by the performers (string trio), as an exact replica of the beginning, and so the recording played back at 16 (or within next 3 bars) will produce an echo of the beginning at the end, this must be timed in rehearsals to ensure CD finishes last. An operator must start the CD and slowly increase the volume (as indicated in the score) by the last repetition the recording must be at full volume. As the score indicates the recording will emerge from within the texture of the live instruments. As the live instruments drop out and the volume of the recording increases one will become more aware of the sound. At its loudest it must not be overpowering, and rather act as this ‘echo’.
There are often two staves for the solo recorder part. The ossia stave above indicates the sound produced, the stave below indicates what is to be played. The composer has worked from the principle that f will produce the pitch notated, and that deviations in dynamics will produce the pitch variations indicated.
The score includes quotes from the English Madrigal Weep, O Mine Eyes (1599) by John Bennett
Chris Johnson (*1977) gained his Master Degree in Composition and Contemporary Music from the Royal Northern College of Music (UK) in 2003. He studied composition with Adam Gorb, analysis with Douglas Jarman & conducting with Clark Rundell, he also received tuition from David Horne, Harrison Birtwistle & Louis Andriessen.
Chris Johnsons composition work covers a wide range of styles and vocal and instrumental ensembles; from Opera to Big Band works, from Electro-acoustic to Pop and Rock. He has worked with many of the UK’s leading Orchestra’s, including The Royal Philharmonic Orchestra, The English Sinfonia and the London Sinfonietta. Chris has received support from the Arts Council of England, Performing Rights Society (PRS) Foundation, The Britten-Pears Foundation and the Ralph Vaughn Williams Trust. Chris’ music has appeared in festivals throughout Europe and can be found in the British Music Collection.
Since moving to Norway in 2007 Chris Johnson has been in demand as a composer, arranger and conductor; he has performed at the Norwegian Opera, writes regularly for the Norwegian Royal Navy Band, and has had his work recorded several times. Chris is committed to working with and developing young musicians and amateur orchestras and in 2013 he was invited to be a member of the Norwegian Academy of Composers (Norsk Komponistforening).