Sketch Cinémathèque is a play on title of Ballet Mécanique, a Dadaist post-Cubist silent film from 1924 by Fernand Léger, Dudley Murphy, and Man Ray. Though the title “Sketch Cinémathèque” is technically grammatically incorrect, it is an homage to the syntax of Ballet Mécanique and the word “cinematheque”—an archive of films and film-related objects. Though Ballet Mécanique is officially accompanied by a musical score from the composer George Antheil, the film was premiered without sound in 1924. In writing Sketch Cinémathèque I considered this scenario of separating a film from its musical score, especially a contemporary film, and wrote the first piece in this series “Found Object Variations” as a film score that does not yet have a film.
The material of Found Object Variations is based on divisions of the natural 7th interval. The natural 7th harmonic interval is essentially a minor 7th lowered by 31 cents, and in using various divisions of this interval (7/2, 7/3, 7/5, 14/9, 14/11) I created this altered microtonal scale shown above with the fundamental of F (compressing the 7th within an octave to function scalarly). This is also the reasoning for the scordatura, based on the recurring 31 and 17 cent variations. The main “theme” explores the full 7th interval, compressing it to create alternate microtonal leading tones from F to E.
Recording Notes
Recorded in Kansas City, MO. Engineered and mixed by Bo Osborn.
Record Label
II-WANDS
Performer Credits
Kathryn Hilger (viola), Daniel Yung (cello), Krista Kopper (double bass).