Corroboree
for 3 string quartets
or string quartet with pre-recorded tape (2026)
duration 15 minutes
commissioned by Muziekfestival Zoom!
or string quartet with pre-recorded tape (2026)
duration 15 minutes
commissioned by Muziekfestival Zoom!
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performance instructions
Corroboree is composed to be performable either by three string quartets (with each quartet positioned as an independent ensemble on stage or around the audience) or for one string quartet to pre-record quartets 2 and 3 and have these recordings played back while performing quartet 1 live.
composer’s notes
Corroboree takes its name from the Australian Aboriginal term for a ceremonial dance gathering, inspired by this unique opportunity to gather three otherwise independent ensembles together. Throughout the piece quartet 1 (the live quartet if playing alone with pre-recorded tape) often functions as the instigator, setting motifs and gestures in motion to which the other quartets react, rebound and reverberate. This contrasts with shorter moments of tutti playing where the entire ensemble works together as one string orchestra.
The form of Corroboree is of a single ten-minute movement made up of three (fast-slow-fast) sections, held together by a united thematic material that is discovered in the opening shimmering textures. Mirroring the three ensembles in the piece, the piece tries to set off twice before finally taking off on the third attempt into a section full of pulsating energy. A moment of respite is found as we move into the slower middle section which starts with chords echoing through the quartets. Having caught its breath, the entire ensemble combines into a quiet unison rendition of the now fully formed theme. This theme is developed in different stages, first in a chorale-like harmonization before the chords split apart, resting under a blanket of gliding high violin gestures.
At the end of the middle section these high violins gather in intensity, moving ever upwards only to suddenly land us back in the world of the opening textures. The tranquility is quickly interrupted however as the chorale-like theme of the middle section now blazes into full view, with the runs of the first section dissecting their way through the whole ensemble. Finally, the echoing chords heard earlier now bring the piece to its conclusion.
Corroboree is composed to be performable either by three string quartets (with each quartet positioned as an independent ensemble on stage or around the audience) or for one string quartet to pre-record quartets 2 and 3 and have these recordings played back while performing quartet 1 live.
composer’s notes
Corroboree takes its name from the Australian Aboriginal term for a ceremonial dance gathering, inspired by this unique opportunity to gather three otherwise independent ensembles together. Throughout the piece quartet 1 (the live quartet if playing alone with pre-recorded tape) often functions as the instigator, setting motifs and gestures in motion to which the other quartets react, rebound and reverberate. This contrasts with shorter moments of tutti playing where the entire ensemble works together as one string orchestra.
The form of Corroboree is of a single ten-minute movement made up of three (fast-slow-fast) sections, held together by a united thematic material that is discovered in the opening shimmering textures. Mirroring the three ensembles in the piece, the piece tries to set off twice before finally taking off on the third attempt into a section full of pulsating energy. A moment of respite is found as we move into the slower middle section which starts with chords echoing through the quartets. Having caught its breath, the entire ensemble combines into a quiet unison rendition of the now fully formed theme. This theme is developed in different stages, first in a chorale-like harmonization before the chords split apart, resting under a blanket of gliding high violin gestures.
At the end of the middle section these high violins gather in intensity, moving ever upwards only to suddenly land us back in the world of the opening textures. The tranquility is quickly interrupted however as the chorale-like theme of the middle section now blazes into full view, with the runs of the first section dissecting their way through the whole ensemble. Finally, the echoing chords heard earlier now bring the piece to its conclusion.
