Programme notes from the composers

Samuel Becker: The first variation has the feel of a French Overture (slow dotted rhythms) but as quintuplets. The Toccata is a relentless hammering of semiquavers very loud and marked. At the very beginning three of the lowest keys are held down, so in the small gaps – and at the end – you can hear a faint ringing of harmonics. The canon is a strict canon at the second, with an added bass line (as Bach mostly did in his variations), while still following the chord sequence and bass line exactly. The movement is in the style of a gentle Baroque dance and in 13/8 to give a lilting quality.

Julian Broughton: My first variation is a ‘Sarabande’ – so far, so old-fashioned – but it uses both extremities of the keyboard, and enjoys the harmonics that can be created through careful positioning of the notes and careful use of the pedals. The ‘Toccata’ interrupts itself, and becomes progressively more relaxed in demeanour.  The final variation is closer to Bach, thanks to its contrapuntal scrupulousness – most of it is a Canon at the interval of a fourth.  However, there are two passages where the tempo suddenly speeds up, and strict canon is abandoned in favour of freer imitation – a lively interruption which I believe enhances the sense of serenity as the variation returns to the manner of its opening.

Michael Finnissy: Michael’s variations are based on a specific set of three, 19-21. The first uses the textures from Bach’s Minuet (variations 19) with complex cross-rhythms. The impish Toccata mimics variations 20 ‘cat-and-mouse’ game, with one part interrupting the other off-the beat to create a de-stabilising effect. The third brings out the intensity of Bach’s no. 21, with a feeling of nostalgia, fragmented ideas creating ‘a memory of making canons’.

Alison Kay: In the Soliloquy there is a modal approach to the aria taking the bones of the melody and applying expansive ornamentation. The Toccata is based on no. 25, all of Bach’s notes are used in the same order and varied via register within a constant rhythm. The slow movement is converted to a fast movement with an altered perception of melody, harmony and rhythm. The Ghost Canon was written at the beginning of lockdown whilst rather unwell. I contained the notes within Bach’s start notes for each bar, ghosting the original, but working with interval within that framework. The piece is designed to be played either very fast and quiet or very slow and quiet. It is introverted, constrained and barely audible.

Nicola LeFanu: My variations follow Bach’s binary structure: 16 bars plus 16 bars, each half repeated. The opening Prelude depends on the resonance of piano harmonics. Bach’s harmonic ground is held silently in the bass while the pianist’s right hand activates the harmonics.  The central Toccata is straightforward, though a little capricious, and a study in velocity for the pianist.I composed the canon first, as I love writing canons and rounds. Mine is a canon at the seventh in the manner of a two-part invention. In its second half, I made it also a canon by inversion and consciously expanded the register to be more pianistic.