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Never Not Actually Arriving

by julian Broadhurst

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1.
Intonation 1 02:35
2.
Intonation 2 03:23
3.
Intonation 3 08:40
4.
Intonation 4 02:28
5.
Intonation 5 14:48
6.
Intonation 6 04:59
7.
Intonation 7 08:27
8.
Intonation 8 03:32

about

Never Not Actually Arriving - Music for Strings, Electronics and Percussion, MSEP 17 - my 69th album. A suite for Solo Cello and Electronics.

Never Not Actually Arriving - Rh 258 - A suite for Solo Cello and Electronics no. 1 - in 8 Intonations. An intonation is a individuated part - but they just pass the baton on from one to the next, as a single work. It is another one of those pieces that gave the gold to the phrase ‘Band of Gold’ - hitting ‘square on’ my vision of a ‘Classical music.’ A signature work for me. The title is that of an unpublished volume of my poetry - covering the year 1988. I coined that phrase and just loved it - is it meaningful or meaningless ?

There are four suites for Cello. A Second suite - ‘A little less than kind’ - Rh 584, this time with four intonation, was along time in coming, having to wait until Album MSEP 34. The title is from Hamlet - his rueful aside at court about his uncle, his father’s murderer - "A little more than kin a little less than Kind". A friend asked if the 1st suite should now be called ‘A little more than kin ? Perhaps, but in that case what would I call the third ? Which emerged in very short order as Entangled A, B and C - Rh 389 - 391 - on album MSEP 36. This time the Movements are separately numbered works - more than just nominally independent. A fourth suite, ‘Curvilineal - Rh 592 is a long set of unnumbered phrasings and movements that just flow together a single performance - fragmented, like the Drumming ultimately became.

NNAA isDedicated to my Dear Friend and colleague, Cellist David Dhonau.


An early reorganization of my music research interests had defined my music into dedicated sets of Albums. This way things of a kin got heard together - as one type of album or another - by Genre - or Tranche as I styled them. In this Case Music for Strings, Electronics and Percussion or MSEP - basically Electro acoustic music with Orchestral Instruments. MSEP by Convention.

Beginning as a percussionist my first 7 albums are for Drums of various kinds, Drum music or Dm, my first area of research interest or Tranche. I soon realised there was a second area of percussion, as a generality over a specialism - percussion on anything other than Drums, Metal Percussion music, or MPm. The third of five is the Phase music, realised by tape looping and timing, Phm. The fourth, a genre of Electro Acoustic composition, Music for Strings, Electronics and Percussion, or MSEP. The last genre is Electronic music – Music, Em, taking the longest processing detour from an original acoustic source.

Album numbers 59 to 75 form my third ‘Group - a 3rd time division across my Genres. A band of gold to my eyes - hence the 'Golden Band group.' This builds on both the foundational 'Blue Cherry Group' [where I had introduced my 5 areas of research interest] and the big 'New Horizon Group' - [where I explored to see where these five genres were leading me]. There then seemed to be a ‘band of gold’ across my discography. They mark a particularly successful time for me. Each being a huge statement in itself - which I thought, lifted me higher than ever before - hence a ‘Band of Gold.’ Dr Tom Hewitt coined the phrase ‘Sea of Symphonies’ for it. Not Symphonies but symphonic in scale and intent. The albums that follow that, 76 to the end, are a ‘Blue Horizon’ - after the phrase’ blue sky research’ - the ‘Blue Horizon Group.’ For convenience, I divided this Huge Group into the Inner and the Outer Blue Groups.

There are five MSEP albums in the Golden Band Group, MSEP 14 - 18. I feel in these I reached ‘a classical music’ - if I hadn’t already. A sprinkle of gold somewhere in every step - if only ‘fools gold’ it shone for me.

[] Album MSEP 14 - these albums begin with something very difficult - a piece I actually call a ‘Symphony.’ Never mind any ‘sea of symphonies’ there is only one here, with four others to follow in succeeding Groups, in one movement each. Hans Werner Henze was the model that gave me permission to try this, in his description of ‘A Symphony’ - especially his no. 5. I borrow this sacred word with humility. As I always say and must insist here - that ‘I am the merest dabbler, a flinger of paint.’ It follows in the long series of Nono pieces - deriving from, a fragment from Nono - it is then a ‘symphony’ on Nono.

[] Album MSEP 15 is Bela - beautiful to my mind and to ear - the Top tile on the roof of this part of my music. It is though a compositional exercise after a fragment from Bartok - perhaps a little more than an exercise. It is the first part of a trio of albums - The Bela Triptych. Those being, Bela, Elegy, and the much later Bela Whispers, albums MSEP 15, 16 and 21. So . . .

[] MSEP 16 is the Elegy, the 2nd part of the Triptych and a lot darker than Bela. The Arc of the three albums is vast, in Context, in content and in time, at well over 3 hours.

[] Album MSEP 17 is another Landmark piece in my work – this is why I am coining the term ‘Golden Band’ – for the sheer weight of the work and its impact on me. Never Not Actually Arriving, is my suite for Cello and Electronics. Sumptuous in eight parts or intonations as I styled them - I hit my Vision of a ‘Classical music’ square on with this. I couldn’t have any doubt now about what I was doing.

[] Album MSEP 18, is Curve - the last MSEP album in the Group presenting two Works, Kurva - Rh 273 and Curve - Rh 274, for string trio and larger imaginings respectively. With the Symphony they are further pieces in my Nono Series.


Golden Band Group - MSEP []

DCM 059 - Em 21 - XAU

[] DCM 060 -MSEP 14 - Symphony SEP []
[] DCM 061 -MSEP 15 - Bela []

DCM 062 - EM 22 - Modular reflex

[] DCM 063 -MSEP 16 - Elegy []

DCM 064 - Em 23 - Popenstrung
DCM 065 - Em 24 - Integral Shining
DCM 066 - Em 25 - Einzstuck
DCM 067 - MPm 7 - Sn for Tu. Met. 2 & 3
DCM 068 Phm 7 - Mech. Clock m. 3 - 5

[] DCM 069 -MSEP 17 - Never Not Ac. Ar. []

DCM 070 - Em 26 - Coventry Canticles
DCM 071 - MPm 8 - Inv. For Steel Vessel
DCM 072 - MPm 9 - Codal

[] DCM 073 -MSEP 18 - Curve []
DCM 074 - Em 27 - Solar
DCM 075 - Em 28 - Cold Outer Worlds


The DCM album numbers list volumes in a [for the most part]
chronological edition - the ‘DCM Broadhurst Edition’ - Prepared for the British Library in 2020. The volumes or albums themselves were actually released as and when it was possible. The Edition though, was planned from the start to stand on the 'foundation Stone' of the Blue Cherry group.

The Rh catalogue, numbers my individual works in order of Completion.

credits

released February 15, 2011

Julian Broadhurst Cello - Electronics - recording - and Mastering. Grateful thanks to Jim Telow for cover concept and Graphics. Cover photograph by Dora Pete - With greatful thanks in absentia - please contact -
www.flickr.com/people/porah

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