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animî nostrî dêbent interdum âlûcinâri

Rachin (op. 89)

November 16th, 2006

In this post, I’ll be making the premiere of the first and second movements of my three-part (book of) Job inspired piece, רחין, that title being the initials of the first of the three lines of text that inspired the piece and its movements:

רוחִי חֻבָּלָה יָמַי נִזְעָכו
(אֶל־אֱלוֺהַ דָּלפָה עֵינִי)
קְבָרִם לִי

The whole score of Opus 89 can be heard on Last.FM or here:

In a different recording, the second movement (“אֶל־אֱלוֺהַ דָּלפָה עֵינִי“) can also be heard in solo on Last.FM or here

The third (“קְבָרִם לִי“) can found in this blog post.

Cor Carians

December 16th, 2003

Details as to the piece, for any curious: it’s a score for string orchestra (violins, violas, cellos and contrabasses) and piano, with ad lib harp. It’s an exploration of the C minor chord and the æolian mode on C. Charpentier’s Regles de Composition (c. 1682) referred to Cm as “obscure and sad”, Schubart (in the work cited in an earlier post) claimed it was both a “declaration of love” and “at the same time, the lament of unhappy love,” containing “all languishing, longing” & “sighing of the love-sick soul”, etc. Parts of that may be appropriate—at least in terms of inspiration, regardless of whether the music itself captures or expresses those things.

If anyone chooses to listen—it may be heard on Last.FM or previewed here—comments are welcome, as always.

This track may also be listened to or voted on at thesixtyone.com.


December 14th, 2003

A score in G minor, which Schubart (Ideen zu einer Aesthetik der Tonkunst, 1806) claimed to represent “[d]iscontent, uneasiness” among other things, and which in Bach’s system seemed to represent generalized pathos. Don’t know that this piece reflects that so much (if any piece in equal temperament reflects historical modes and their significance, for that matter), but the mood is somewhat somber, the music sparse. It takes inspiration from Pärt’s style in “Für Alina,” and like that piece it’s for solo piano, but whereas his score, as usual in the case of tintinnabuli, focuses on only one chord and a single mode over that (B minor, and B æolian in that particular piece), “Cold” works its way across a particular set of chords in its key.

This work can be heard on Last.FM or previewed here.

Daniel Dockery's Portfolio

animî nostrî dêbent interdum âlûcinâri