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Riding East
for string orchestra
James Wilson
Bigger Tress Near Warter Or/Ou Peinture Sur Le Motif Pour Le Nouvel Age Post-Photographique
Bigger Trees Near Warter is David Hockney’s largest work to date. It measures more than four and a half by twelve metres. The painting is made up of fifty panels
joined together to form a whole. Its subject returns Hockney to his native Yorkshire with a view of a landscape near Warter, west of Bridlington, just before the
arrival of spring when the trees are coming into leaf. In the shallow foreground space a copse of tall trees and some early da&odils stand on slightly raised ground.
An imposing sycamore is the composition’s central focus. Another, denser copse, painted in pinkish tones, is visible in the background. A road to the extreme left
and two buildings to the right of the composition o&er signs of human habitation. The painting’s extensive upper zone is dominated by the intricate but stark
pattern created by the trees’ overlapping branches, which are clearly delineated against the winter sky.
Due to its massive scale and technical complexity the painting took Hockney six weeks to complete. Following on from preliminary drawings undertaken out of
doors, the artist produced a sketched grid of the entire composition to guide the process. Working in stages, Hockney sought directness and spontaneity by
painting en plein air (‘in the open air’), a method that evokes the practice of innovative, nineteenth-century French landscape painters such as the artists of the
Barbizon School and the Impressionists, but inevitably limited the number of canvases he could work on at any one time. As they were worked on the individual
panels were photographed and the photographs made into a computer mosaic, to allow the artist to chart progress on the composition as a whole as he only had
space to display six to ten canvases together in his small studio in Bridlington. The canvases were variously reworked, transported back and forth from the studio
to the site for subtle modifications that would enhance and strengthen the complete composition.
Hockney produced Bigger Trees Near Warter for the Summer Exhibition of the Royal Academy, London, in 2007, where it occupied the end wall of Gallery III.
Following the close of the exhibition, once the rest of the works had been removed, this painting remained in place. Two digital photographic renderings of the
work on exactly the same scale as the original were then hung on the two walls flanking it. Presented simultaneously on three walls, the vista seemed to engulf the
viewer, creating the e&ect of a cloister.
The painting’s alternative title indicates that Hockney saw the conjunction of a method of painting out of doors and in front of the subject (called in French ‘sur le
motif ’) with the techniques of (digital) photography as central to his project to produce a landscape painting in oils on a very large scale. The experimental
combination of traditional and state-of-the-art methods has characterised much of Hockney’s practice over the last twenty-five years. Yet his engagement with the
formal and emotive qualities of the landscape itself is also a striking feature of Bigger Trees Near Warter.
Having painted in California in the late 1990s landscapes inspired by Yorkshire, in the early years of the twenty-first century Hockney thus came to shift his
attention more emphatically to the scenery of his home region through direct engagement with it. He has continued to visit Yorkshire on a regular basis
throughout his career, and now lives there part time, drawing inspiration for all his later landscapes on the countryside within a thirty mile radius of Bridlington.
These paintings are more naturalistic than those of the 1980s inspired by the panoramas of California, though retain touches of their vivid colouring. In them,
Hockney focuses particularly on trees. In the Woldgate Woods series of paintings, produced in 2006, for example, Hockney charted seasonal changes in a specific
area of woodland in nine works each made up of six canvases. ‘[Trees are] like faces,’ he has explained, ‘every one is di&erent. Nature doesn’t repeat itself ... You
have to observe carefully; there is a randomness.’ (Quoted in Higgins, p.12.)
Hockney gifted Bigger Trees Near Warter, and the two digital reproductions of the work, to Tate following his seventieth birthday.
Alice Sanger (2009)
String Orchestra
Order of performance: A B C D E F G H I J
The ensemble consists of 19 parts: 10 violins, 4 violas, 3 ‘celli and 2 double basses.
All sections are to be played ad libitum and are not to be conducted.
The beginning of each section is marked with an arrow, corresponding to the downbeat of the conductor, indicating the start of a new section and also the end of the previous section.
At the end of each section, the performers should immediately move onto the next regardless of where they are in the bar.
The double basses are written in octave transposition, with exception to the harmonics, which are written as they sound, marked "suono reali".
Accidentals only a&ect the notes they precede. Notes without accidentals are always to be understood as natural. Accidentals are carried through to tied notes.
Duration: c.15 minutes
Violin 4
Violin 6
Violin 8
Violoncello 3
Contrabass 1
p f p ppp fp
Tempo 1
ad libitum (q = c.118)A
f p ppp f p ppp f
f p ppp fp
mf cresc. p morendo fff cresc. ppp morendo
fff ppp mp p
con sord.
3
33
3
33
Riding East James Wilson
(b. 1991)
c.1'30''
con sord.
33
3
33
3
con sord.
3
33
3
33
arco sul pont. nat. pizz. arco sul pont. nat. pizz.
3 3
suono reale, senza vibr.
Long caesura of optional length determined by the performer.
Short caesura of optional length determined by the performer.
3 3 3 3
Vn. 1
Vn. 2
Vn. 3
Vn. 4
Vn. 6
Vn. 8
Vn. 10
Vc. 3
Cb. 1
Cb. 2
fff ppp mp p ppp fff ppp mp p ppp fff ppp mp p ppp fff
Tempo 2
ad libitum (q = c.146)B
fff ppp mp p ppp fff ppp mp p ppp fff ppp
fff ppp mp p ppp fff
fff sempre
f p ppp f p ppp f
p ppp f p ppp f p
p sempre
p fff ppp p fff ppp p
fff ppp mp p ppp fff ppp mp p ppp fff
fff sempre
3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3c.1'30''
3 3 3 3 3 3 3 3 3 3
con sord.
33
3
33
3 3
con sord.
33
3
33
3
pizz.
pizz.
3 3 3
33
3 3 3
Vn. 1
Vn. 2
Vn. 3
Vn. 4
Vn. 5
Vn. 6
Vn. 7
Vn. 8
Vn. 10
Cb. 1
Cb. 2
ppp mp p ppp mp p ppp mp p ppp
Tempo 3
ad libitum (q = c.176)C
ppp mp p ppp mp p ppp mp
ppp mp p ppp
ppp mp p ppp mp p
p ppp p ppp p ppp p ppp p ppp p ppp p ppp p ppp
p sempre
p ppp p ppp p ppp
p ppp p ppp p ppp p ppp p ppp
f p ppp fp
ppp mp p ppp mp p ppp
ppp mp p ppp
3 3 3 3 3 3 3 3 3 3
3 3 3 3 3 3 3 3
3 3 3 3 3 3
con sord.3
3
3 3
3
3 3
3
33
3
3 3
3
3 3
33
c.1'30''
con sord.
con sord.
con sord.
3 3 33 3 3 3
3
con sord.
3
33
3
33
3 3 3 3
Vn. 1
Vn. 2
Vn. 3
Vn. 4
Vn. 5
Vn. 6
Vn. 7
Vn. 8
Vn. 10
Vl. 2
Vl. 3
Vl. 4
Cb. 1
mp p ppp mp p ppp mp p ppp mp
Tempo 4
ad libitum q = c.155D
mp p ppp mp p ppp
f sempre
f p ppp f p ppp f p ppp
ppp p pp p pp p pp p pp p pp p
p sempre
p pp p pp
p pp p pp p pp
f p ppp f p ppp f p ppp
p pp p pp
p pp p pp
f p ppp
mp p ppp mp p ppp
3 3 3 3
3 3 3
con sord.
con sord.
3 3 3 3 3 3 33 3 3
c.1'30''
c.1'30''
c.1'30''
3
3
3
3 3
3
33
33
3 3 3
con sord.
3 3 3 3 3 3 33 3 3
sul G
sul G
con sord.
Vn. 1
Vn. 2
Vn. 3
Vn. 4
Vn. 5
Vn. 6
Vn. 7
Vn. 8
Vn. 9
Vn. 10
Vl. 1
Vl. 2
Vl. 3
Vl. 4
Cb. 1
p ppp p ppp p
Tempo 4
ad libitum (q = c.155)E
p sempre
ff fff mf p pp ff fff mf p pp ff fff mf p pp ff fff mf
ff fff mf p pp ff fff mf p pp
ff fff mf p pp ff fff mf p pp
ff fff mf p pp ff fff
ff sempre
ff sempre
ff fff mf p pp ff fff mf p pp ff fff mf
ff fff mf p pp ff fff mf p pp
ff sempre
ff sempre
ff sempre
ff sempre
p ppp p ppp
3
33 3
3
3 3
3
3 3
3
3 3
3
3 3
3 3 3
3
3
c.1'30''
3 3 33 3 3 3
3
3 3 3 3
3
33
3
3 3
3
3
3
3 3
3
33
33
3 3 33 3 3 3
3
(sul G)
(sul G)
(sul G)
(sul G)
Vn. 1
Vn. 2
Vn. 3
Vn. 4
Vn. 5
Vn. 6
Vn. 7
Vn. 8
Vn. 9
Vn. 10
Vl. 1
Vl. 2
Vl. 3
Cb. 1
ppp sempre
Tempo 4
ad libitum (q = c.155)F
ppp sempre
fff mf p pp fff mf p pp fff mf p pp fff mf p pp
fff mf p pp fff mf
fff mf p pp fff mf
fff mf p pp fff mf p pp fff mf p pp
fff mf p pp fff mf p pp fff mf p pp fff mf p pp fff mf
fff sempre
f p ppp f p ppp f p ppp f
f p ppp f p ppp
fff mf p pp fff mf p pp fff mf p
fff mf p pp fff mf p pp fff mf p
fff mf p pp fff mf p pp fff mf p
ppp sempre
3
3 3 3
3
3 3
3
3 33
3
3 3
3 3
3
3
3 3 3
33
3
3 3
33
33
3
3
33 3
3
3 3
3
3 3
3
3 3
3
3 3
3 3 3
3
3
c.1'30''
con sord.
3
3
3
3
con sord.
3 3 3
sul G possibile
sul G possibile
sul G possibile
Vn. 1
Vn. 2
Vn. 3
Vn. 4
Vn. 5
Vn. 6
Vn. 7
Vn. 8
Vn. 9
Vn. 10
Vl. 1
Vl. 2
Vl. 3
Cb. 1
fff sempre
Tempo 4
ad libitum (q = c.155)G
fff ppp mp p ppp fff ppp
fff mf p pp fff mf p pp fff mf p pp fff
fff sempre
fff mf p pp
fff mf p pp fff mf p pp fff mf
fff mf p pp fff mf p pp fff mf p pp fff mf p pp
fff mf p pp fff mf p
p ppp p ppp p ppp
p sempre
fff mf p pp
fff mf p pp
fff mf p pp
fff ppp mp p
3 3 3 3 3 3
3
3
3
3 3
3
33
33
3 3 33 3 3 3
3
3
3 3 3
3
3 3
3
3 33
3
3 3
3 3
33
c.1'30''
3
33
3
3 3
con sord.
con sord.
sul G possibile
sul G possibile
sul G possibile
3 3 3 3
Vn. 2
Vn. 4
Vn. 6
Vn. 8
Vn. 10
Vc. 2
Vc. 3
Cb. 1
fff ppp mp p ppp fff ppp mp p ppp fff ppp mp
Tempo 1
ad libitum (q = c.118)H
ppp f p ppp fp dim.
f p pppf
pppp f
pfff ppp p fff ppp
p fff ppp p fff ppp
p sempre
p fff ppp p fff ppp p
p sempre
fff ppp mp p ppp fff ppp mp p ppp
3 3 3 3 3 3 3 3 3 3c.1'30''
c.1'30''
con sord.
3
33
3
33
con sord.
33
3
33
3 3
pizz.3 3 3 3 3 3 3 3 3 3
pizz.
pizz.
3 3 3
pizz.
33
3 3 3
Vn. 2
Vn. 4
Vn. 6
Vn. 8
Vn. 10
Vc. 2
Vc. 3
Cb. 1
ppp mp p ppp mp p ppp mp
Tempo 1
ad libitum (q = c.118)I
f p ppp fp
p f p ppp fp
mf p fff ppp mf p fff ppp mf p
mf p fff ppp mf p fff
mf p fff ppp
mf p fff ppp
ppp mp p ppp mp p ppp
3 3 3 3 3 3 3 3
con sord.
3
33
3
33
con sord.
3
33
3
33
c.1'30''
pizz. 3 3 3 3 3 3 3 3
pizz. 3 3 3 3 3 3
pizz.
3 3
pizz.
3 3
Vn. 4
Vn. 6
Vn. 10
Vc. 1
Vc. 2
Vc. 3
Cb. 1
f p ppp f p ppp f
Tempo 1
ad libitum (q = c.118)J
p sempre
p fff ppp p fff ppp p fff ppp p fff ppp
p fff ppp p fff ppp p
ppp morendo mf cresc. p morendo fff cresc. ppp morendo
p fff ppp p fff ppp p
mp p ppp fff ppp mp
con sord.
33
3
33
3
pizz.
pizz.3 3 3 3 3 3 3 3 3 3
c.1'30''
pizz.
3 3 3
nat. pizz. arco sul pont. nat. pizz. arco sul pont. nat. pizz.
3 3
pizz.
3 3 3
suono reale, senza vibr.
3 3 3 3