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1.
Times Past 03:25
2.
3.
4.
5.
Lost Souls 08:12
6.
Reconcile 11:09
7.
8.

about

Inspiration and Genesis

It can be difficult to know how best to relate the inspiration behind music which has undergone a long gestation and seen several manifestations before its final form. Much of the music on this album is the result of a desire to bring together my love of many styles and influences: twentieth century art music, particularly Bartok, Stravinsky, Shostakovich and Britten, energetic rhythms from South America and the Balkans, and the freedom and spontaneity that improvisation can infuse into the mix. It has taken many years for me to finally feel the courage and conviction to bring together these disparate influences in my composition and ultimately the recording studio.

Many of the melodies and themes of the these works started life being performed in a jazz context, before the development which led to the current compositions. In jazz, performers are accustomed to improvising variations based on a song and its harmonic structure. They are also used to responding in the moment to each others’ playing, reacting to changes of dynamics, speed and melodic invention. At the core of improvisation is the wonder of people relating to and reacting to each other through music as they create it in real time.

I also had the desire to explore this material using the sort of considered reflection and detailed structure which is possible through more extended composition. The theme for Gibb River Road for instance, was conceived as a brooding melody accompanied by a pulsing Afro-Cuban bass line, serving as a springboard for melodic exploration through improvisation. At the same time this melody appeared to be brimming with little motivic fragments, ripe for development in a written context. The resulting piece is an example of my attempt to combine both types of musical narrative. At times the bass clarinet and double bass will be engaging in the sort of improvisation typical of modal jazz, with the string quartet primarily providing harmonic colour and rhythmic impetus. This gives way to passages where the quartet comes to the fore, laying down the formal structure and written exploration of the material.

At other times the roles are reversed, thanks to the versatile skill set of string quartet The NOISE. In addition to their skills as exquisite classical players, they have cultivated an ability to spontaneously create coherent and engaging sound worlds in a variety of contexts. The written compositions have benefited from their contributions, which complement the predominantly jazz informed improvisations from Brett and me. Of particular note are the delicate improvised textures in the introduction to Lost Souls, James and Ollie’s dialogue later on in the same piece and Veronique’s expressive arabesques during the fast section. Another significant contribution comes from Brett Hirst at the beginning of Reconciled. Asked to improvise using a set of pitches drawn from the final chord of Lost Souls, Brett delivers a soliloquy referencing and developing thematic elements from that movement and Gibb River Road, showing a well developed familiarity with the whole work.

An extra dimension is added to Lost Souls, with the sudden appearance of guest percussionist Mara Kiek, driving the Bulgarian Pajdushka rhythm from her tapan drum.

My composition rarely seeks to depict a specific program or sentiment. I often struggle to find a raison d’être for my musical ideas beyond the pure abstract fascination suggested by a particular sound, rhythm, construction or relationship of parts. However it sometimes feels necessary to acknowledge significant extra musical influences behind a musical gestation. Ultimately, many of the associations mentioned below have been drawn on reflection after the composition is complete. In attempting to append a theme or meaning to the sounds, I find the circumstances behind the genesis of musical ideas useful in communicating ideas to the listener.

credits

released March 7, 2015

Paul Cutlan (bass clarinet/soprano saxophone) Veronique Serret (violin) Liisa Pallandi (violin) James Eccles (viola) Oliver Miller (cello) Brett Hirst (bass)
Mara Kiek (tapan)
Recored by Simon Todkill, assisted by Jono Baker at Studios 301.
Edited by Llew Kiek.
Mixed by Ross A'Hearn
Produced by Llew Kiek and Paul Cutlan
Released on Tall Poppies.

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about

Paul Cutlan Sydney, Australia

Paul’s uniquely expressive voice as a multi-instrumentalist and composer is informed by contemporary classical music, world music and jazz.

Paul has had works commissioned by Ars Musica Australis, The NOISE string quartet, Divergence Jazz Orchestra and Jenny Eriksson.
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