"Quindra is an extended and re-orchestrated version of Alkusoitto (Overture, 2022), of which I've wrote a following description: "The melodic material flows as an archaic 3-voice canon stretto [=the voice imitation taking place in close succession]. Beneath the canon voices the bass treatment is what gives the piece its structural form. The piece begings as a polymetric duo between the opening canon voice and rhythmically independent bass line. With each new canon voice entry the complexity of the metric structure increases. The metric tension is eventually resolved with a sudden textural cut, upwards modulation and a leap to a groovy passacaglia. With stable pulse and ever-decending bass line the musical focus changes from meter to harmony, presenting the resources of the ongoing canon in a fresh light."
Quindra follows the original version more or less faithfully until its ending cadenza, which is skipped and new material is introduced. The new instrumental solo makes use of the solistic resources of the harpsichord and also functions as a bridge to the ending section, where the original melodic material (the 3-voiced canon), appears on a top of a plain organ pedal point. The piece ends in a little cadenzal postlude between harpsichord, bass viol and cello, that briefly sums up the piece in a form of an inversion of the original canonic material.
The incentive to re-compose Alkusoitto grew out of the feeling that even if it worked well in its role as an overture for a staged chamber opera, its time-scale wasn't optimal for an independent piece. I concluded that it would need more space, time and contrasting compositional material. Quindra is the result of this reasoning." (OV, 29 January, 2025)
Instrumentation
for soprano recorder, tenor saxophone, bass viol, chamber organ, harpsichord, Baroque cello
2025
arrangement for alto saxophone, tenor saxophone, concert accordion, Roland C-30 (or organ & harpsichord), violoncello
2024
