The term “variations” in this work is used somewhat loosely and does not conform to the strict connotation of the classical “Theme and Variations” form. Rather, it is used in the sense that the presented themes are decorated and varied over a repeated ground bass in much the same way as in a Chaconne. Material for this work was drawn from an earlier work Phospherics. This title came from a series of word associations:
Phosphorous: phosphorescent, luminous, green, nature. Spherics: spherical, circular, cyclical, cycles.
Versions of phosphoric Variations were originally composed for alto saxophone and piano, then later for clarinet and piano and flute and piano.
Contents: Wombat Waddle, The Monkey's Raincoat , Muddy Monster March, A Sad, Sad Serenade , Wormy Waltz , Robotic Rag, Dinosaur Disco , Brolga Ballet , Sneekin' , Road Racer Rag , Hairy Habanera, Too Cool To Tango
This piece, a flight of fancy for flute and piano, comprises three sections, each lasting about a minute or so.
The first section kicks off in an energetic and cheerful way with the bright, upper registers of both instruments at play. Also evident in the opening section are ideas such as angular melodic lines played in unison, a little harp-like piano accompaniment texture and a contrasting theme fashioned atop a jazzy, dance-inspired bassline.
The middle section of the work is perhaps the more unearthly music of the work. Little updrafts and whirlwinds of tinkling, glockenspiel-like piano figurations add a haunting quality to a chromatically inflected flute melody, evoking, for me, images of night and a kind of magic.
The final section of the piece – which brings us back to earth with its recapitulation of earlier material – is characterised by the soun
Contents: Gavotte, Black Swan Waltz, Croc Rock , Nocturne, A Little Serenade
Contents: Piper's Lullaby , Miles of Water Colour , Up The Ladder, Mosquito , Smock 2, The Wail
Performed by Brigid Burke
