Colour Concerto

Colour Concerto is a single-movement concerto that harnesses
mechanomorphism—using machines as artistic metaphors to convey non-
mechanical expressions—as a way to construct a work that intersects the colour and
music theories of Newton and Goethe. This mechanising of musical timbre allows
the work to explore both the technical and timbral possibilities of a solo clarinet and
its orchestral counterpart.

A consonant theme—first heard in high, hazy double-bass harmonics—is central to
the work’s form, variations of which allow the solo and accompaniment roles usually
present in the archetypal concerto to be stretched, subverted and ultimately
subsumed. Whilst each player within the orchestra is challenged with both solo- and
tutti-style material, the soloist is similarly turned into a ‘chameleonic’ figure, with the
solo instrument often heard mimicking its orchestral neighbours. From barrelling
string-like arpeggios to brass chorales condensed into multiphonic chords, the solo
clarinet features flourishing woodwind figures and vigorous percussive rhythms
alongside its typically lyrical sonority.

Colour Concerto is dedicated to its premiering soloist, Maria du Toit. Her
pioneering technical and artistic skill have been invaluable in shaping the spirit and
rigour of this work.