Quiet Music Ensemble commission

“on which the sun never sets”  
Work for Quiet Music Ensemble with electronics.
duration: 14 min

quiet music ensemble
John Godfrey: Musical Director/electric guitar
Seán Mac Erlaine: clarinets
Roddy O’Keefe: trombone
Yseult Cooper Stockdale: cello
Dan Bodwell: double bass

Premiere at New Music Dublin 2025
Sunday 6th April, 2pm
Venue: National Concert Hall, Kevin Barry Recital Room
alongside new works composed by Cat Lamb, Scott McLaughlin & Rory Tangney

The tuning system and the modular elements comprising this piece were devised at the Dublin City Council Arts Office residence in Temple Bar just after New Music Dublin 2023. The whole number ratios for the tuning system were selected because they produce no beating frequencies, leading them to act directly upon the body as a pressure, an engine that drives the piece forward – producing a corporeal procession of time. Between the modular elements, however, there are a host of beating frequencies that produce phase anomalies, overtones and perceived movement in the performance room relative to each other and the tones meticulously played by the Quiet Music Ensemble. While the commonly repeated phrase about having eyelids but not earlids has merit, it can be added that the ears and brain can disconnect from listening but the body can’t, the sensation of pressure persists. This piece is designed to have a particularly corporeal effect. “on which the sun never sets” uses modular elements from the London Open Form Pavilion of Air* – a geolocated audio work only accessible in Kensington Gardens, London – to produce a spatial composition for the Quiet Music Ensemble whilst still retaining the Open Form architectural concepts, devised by Oskar & Zofia Hansen in 1959, which informed the foundation of the 15 geolocated audioworks in the Open Form Pavilion of Air series.

*The London geolocated audiowork is located across a section of Kensington Gardens immediately west of the Serpentine Gallery with the Serpentine Pavilion to its’ east. The work’s design takes the form of a 160 x 160 metre arrow, pointing west to Ireland & the sunset. Invisibly occupying part of the Gardens, itself once a King’s playground, the work's concept echoes & reframes the fading colonial notion of a "... vast [British] empire on which the sun never sets" (the words of British colonial administrator Earl George Macartney in his "An Account of Ireland in 1773 by a Late Chief Secretary of that Kingdom"). The London work follows directly on from the NMD23 commission of the Dublin Open Form Pavilion of Air, which is still accessible, covering the whole 4.5hectares of Merrion Square, Dublin.

This diagram relates to the piece as a map that is approached in three directions at different junctures (top, middle and bottom) over the duration of the piece, that then arrive together at the end. The sounds – the modular elements – within each of the circles/zones gradually assume more of a hyperbolic paraboloid topology – as these zones progress "westwards" (from right to left in the diagram) the gradation and movement of the sine tones within these modular elements become hyperbolic paraboloids, increasing in "steepness" and taking on a surprising and more urgent timbre.