Commentary: Jekyll and Hyde

I chose to write this piece for Piano, Bass Clarinet and Viola. At the beginning
of the piece, I chose to have the viola and bass clarinet at the unison, creating an
ethereal texture which is disrupted by the arpeggiated chords in the piano. This helps
support the Ivy’s inebriation, at this point. The theme introduced at bar 7 on the left
hand of the piano is used throughout the piece as a serial tone row. However, this is
not a serial composition, merely using serial techniques. The other main motif used
in the piece is the one in viola and bass clarinet at bar 10. This is Hyde’s danger
motif which is used throughout as he threats the woman. In bar 12, a rhythmic
augmentation of the theme is used as Hyde is coming down the stairs. The motif is
rarely used at the unison, mostly being used with a dissonant interval between the
two instruments. In certain occasions, such as bars 13 and 31, I used the first three
notes of the previously pointed out “tone row” to create the harmony of the motif –
this can be seen on the right hand of the piano in both occasions. One of the most
important moments in the scene happens on bar 24 which is when the scene
becomes violent and Hyde starts chasing Ivy. There is a build up to this moment
which starts on bar 21 with the viola and bass clarinet slowly converging, eventually
reaching a minor 2nd of interval between one another. The chase scene starts in 7/8,
using the irregular time signature to create tension in the music. The bass line
ostinato is based on the tone row as are off beat interventions by the viola and bass
clarinet. At bar 28, there is a fragment of essential dialogue, prompting the music to
take a secondary role. The semitone trill on the piano left hand keeps the tension
levels high, while the viola pizzicato and bass clarinet keep playing their offbeat
interventions. The bass clarinet and the piano share the trill in order not to exhaust
either player
The climax of the scene comes at bar 45 when Hyde reveals his true identity.
In order to give this revelation maximum emphasis, there are two bars rest in the
music followed by the loudest and most dissonant statement of the Hyde theme. In
bar 49 I used the tingling piano part to symbolise Hyde’s obsession with Ivy, giving it
the sonority of a distorted lullaby. I use this technique again in bar 61, with applied to
the same situation. The music follows the action very closely, with its pace always
following the mood of the scene. It’s interesting to note how in bar 57 the ostinato is
played by Clarinet and viola pizz, marked piano, while Hyde is temporarily not in
view. This suggests that the music is specifically associated with the character.