Piano score and part 0571506887 on sale

Programme Notes

Be(com)ing is so called because, although the music changes quite dramatically, becomes something, with regard to its surface patterns and ways of producing sounds on clarinet and piano, the basic structure does not change but goes on repeating the harmonic and melodic patterns as before: the play of the relative world within the absolute world of ‘being’. For both instruments, silence (or near silence) is always followed by soft, gentle music, which is always followed by energetic music. This threefold sequence occurs throughout, but clarinet and piano are not ‘in sync.’, each follows its cycles independently of the other. The work was commissioned by the young virtuoso Julia Holmes with funds provided by South East Arts, and first performed by her with Julian Elloway. The demands made on both instruments are very considerable, and the clarinet especially is asked to produce many new sounds, including microtones. Jonathan Harvey


l’Atelier de La Main d’Or (Paris, France)

Jean-Jacques Godron, Jacques Comby, Ensemble Regards


Merkin Hall, Kaufman Music Center (New York City, NY, USA)

Jean Kopperud


Purcell Room, Southbank Centre (London, United Kingdom)

Andrew Harper, Joseph Middleton


Viitasaari Church (Viitasaari, Finland)

Ralph van Raat (piano) & Gareth L Davis (Clar)


BMIC, Stratford Place (London, United Kingdom)

Rob Bailis, Skye Atman