ECLIPSE: NO SUN, NO MOON (score & parts)

This piece takes its cue from the phenomenon of a total eclipse and quotes from the aria ‘Total Eclipse’ from Handel’s opera, Samson. It employs a number of multiphonics which are used to add timbral quality and darken the sound. It was commissioned by Lesley Wilson – former principal bassoon with the Royal Scottish National Orchestra – and was premiered in 2017 by FagottOctett (conducted by John Harris) at the Sound Festival, St. Andrew’s Cathedral, Aberdeen, 4th November 2017.

For seven bassoons and contra. The instruments are grouped: 1-4 and 5-7+contra. Parts 1 and 5 are the most difficult (c. Grade 8), followed by parts 3 and 6 (c. Grade 6-7), then 2 and 7 (c. Grade 5).

Special techniques

Exaggerated vibrato – where the designated note begins with a 1/4 tone vibrato and gradually narrow to a normal one. In parts 1, 3 and 5 only.

Multiphonics – A number of multiphonics have also been incorporated into this piece which are produced using special fingering which induces a beating sound featuring a number of pitches simultaneously. The fingering used for each of the seven different multiphonics employed in this piece are indicated by the letter ‘mu’ in the score . A full explanation of each multiphonic is given in the relevant parts. In parts 1, 2, 5, and 6. Most are based on the standard fingering for the indicated note +/- another finger or two.

About the composer

The Scottish composer Janet Beat (b.1937) studied music at Birmingham University, continuing her studies in Italy. On her return she received composition tuition from Alexander Goehr and encouragement from Luigi Dallapiccola and Sir Michael Tippett.

One of the women pioneers in electronic music composition in the UK, she established the electronic music and recording studios for the Royal Conservatoire of Scotland, (formerly the Royal Scottish Academy of Music and Drama). In her long career she has held a number of posts including Visiting Composer at Meister-Konsvatorium, Nürnberg, (now the Hochschule für Musik Nürnberg/Augsburg) and Lecturer and Honorary Research Fellow at Glasgow University (1996-2015).

Her music has been performed on all five continents and broadcast widely. She has also been the featured composer at a number of major festivals. Though the main part of her work was written for the concert hall, she has also composed for film and television.

In 2019 her inspiring legacy was officially recognised when she received the Scottish Women Inventing Music Lifetime Achievement Award.

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