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Komorebi

by Salina Fisher | Violin and Vibraphone

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PROMETHEAN EDITIONS<br />

SALINA FISHER<br />

<strong>Komorebi</strong><br />

Violin and Vibraphone


SALINA FISHER<br />

<strong>Komorebi</strong><br />

Violin and Vibraphone<br />

PROMETHEAN EDITIONS<br />

WELLINGTON


<strong>Komorebi</strong> (PE203), for Violin and Vibraphone by Salina Fisher<br />

(2014)<br />

© Salina Fisher 2014<br />

First edition © 2017 Promethean Editions Limited (202103)<br />

Series Editor: Ross Hendy<br />

Editor: Ben Woods<br />

ISBN: 978-1-77660-923-9 (print)<br />

ISBN: 978-1-77660-203-2 (ebook)<br />

ISMN: 979-0-67452-250-2<br />

Promethean Editions Limited<br />

PO Box 10-143<br />

Wellington<br />

NEW ZEALAND<br />

http://www.promethean-editions.com<br />

No part of this publication may be reproduced in any form or by<br />

any means without permission in writing from the Publisher.<br />

PE203 – ii


Salina Fisher (1993)<br />

Salina Fisher is a Wellington-based composer and violinist of New Zealand and Japanese<br />

heritage. Her music has been performed throughout New Zealand and in the USA, UK,<br />

Germany, Australia, Malta, and China, with performances and commissions from ensembles<br />

including the New Zealand Symphony Orchestra, New Zealand String Quartet, Auckland<br />

Philharmonia Orchestra, NZSO National Youth Orchestra, Stroma New Music Ensemble,<br />

Mimosa Ensemble, and Lazarus String Quartet.<br />

Fisher’s gift for music was apparent from a very young age. After developing a fascination<br />

with her family’s piano at the age of four, she began formal lessons and a year later was also<br />

learning the violin. Fisher’s violin teacher observed her advanced grasp of composition and<br />

musicianship, and at age eight, Fisher was the youngest of six composers to have their music<br />

performed by the visiting Netherlands Wind Ensemble at the Wellington Town Hall as part of<br />

the 2002 New Zealand Festival. Fisher joined the group on stage for their performance of her<br />

work, Suite No.1 (2002), playing violin and piano. Later that year a re-orchestrated version of<br />

Suite No.1 was performed by the Christchurch Symphony Orchestra.<br />

Instead of staying on for her final year of high school, Fisher began studying composition and<br />

violin performance at the New Zealand School of Music. Under the tutelage of John Psathas<br />

and Michael Norris, she completed a Postgraduate Diploma (with Distinction) in 2014. Fisher<br />

was the Overall Winner of the NZSO Todd Young Composer Award in both 2013 and 2014,<br />

and also received the Orchestra’s Choice Award for her work Blushing Skies (2014). In 2014–<br />

2015 she was Auckland Philharmonia Orchestra’s ‘Rising Star’ Young Composer-in-Residence.<br />

In 2015, violist Bryony Gibson-Cornish’s performance of her work Reflect (2014) for solo<br />

viola was awarded the ‘Best Performance of a New Zealand Work’ award at the Gisborne<br />

International Music Competition. In 2016 Fisher became the youngest ever winner of the<br />

SOUNZ Contemporary Award, New Zealand’s premier composition prize, for her orchestral<br />

work Rainphase, which was written during her time as the 2015 NZSO National Youth<br />

Orchestra’s Composer-in-Residence.<br />

PE203 – iii


Fisher has performed on traditional Japanese instruments koto, taiko, and shamisen, and has<br />

recently begun exploring taonga pūoro, the traditional Māori instruments of New Zealand. Her<br />

work Tōrino, commissioned in 2016 by Chamber Music New Zealand for performance by the<br />

New Zealand String Quartet, is inspired by the pūtōrino playing of taonga pūoro musician Rob<br />

Thorne. Fisher has also written for film, scoring the 2016 short film Misimpressions.<br />

Speaking about her compositional style and influences, Fisher states:<br />

I’m hesitant to define my musical style or philosophy in any way; not only because<br />

I’m at an early stage in my career, but also because what I love about composition is<br />

the continuous exploration and discovery of new ideas. I try to keep my mind open to<br />

all kinds of inspiration; to grow an idea as naturally as I can, whatever it may be. Each<br />

new piece presents an entirely new set of challenges, and sends me on an unpredictable<br />

and ultimately rewarding journey. So far, I’ve been interested in exploring the musical<br />

traditions of Japan and New Zealand, and experimenting with timbre and colour,<br />

particularly through the use of extended techniques. I’m drawn to (non-Western) modal<br />

harmonies, pitch-bending, “beatless-ness” and space; as well as sounds that could be<br />

described as fragile or haunting. My experience as a performer undoubtedly influences my<br />

writing, which often begins through improvisation with the violin, piano or voice.<br />

As a violinist, Fisher has frequently performed as a casual player with the New Zealand<br />

Symphony Orchestra since 2012. She has been a member of the NZSO National Youth<br />

Orchestra since 2010 and was Concertmaster in 2012-13. She has had lessons with worldclass<br />

violinists including Nicola Benedetti, Pietari Inkinen, and Pinchas Zukerman, and was<br />

a finalist in the 2013 New Zealand School of Music Concerto Competition. She also holds an<br />

ABRSM Diploma in Piano Performance.<br />

Latest information about the composer may be found at www.salinafisher.com.<br />

PE203 – iv


<strong>Komorebi</strong> (2014 )<br />

Wondrous and seemingly weightless, <strong>Komorebi</strong> flickers into life with sustained violin<br />

harmonics mixing with the glow of the vibraphone’s repeated three-note figure that gently<br />

pushes the piece along. Fragments of melody gradually emerge for the violin as it takes over<br />

the vibraphone’s rhythmic figure, now given nuance through evolving articulations and<br />

meter. However, it is the violin’s soaring, patiently held material that dominates the first half<br />

of the work, punctuated with aching glissandi descents. <strong>Komorebi</strong> eventually breaks free from<br />

its soft pulse to wander through a dream-like senza misura passage. Sonorities intermingle as<br />

the vibraphone’s elastic, rolling gestures and bowed keys converse with the violin’s harmonic<br />

tremolos and delicately expressive statements.<br />

The composer writes:<br />

This work is inspired by the beautiful Japanese word komorebi, which means “sunlight that<br />

filters through the leaves of trees”. I’ve used the ryukyu mode from Okinawa, Japan, as the<br />

tonal basis of <strong>Komorebi</strong>. Ryukuan musical traditions differ from those of mainland Japan<br />

in several ways, including the use of different instruments and tonalities. Unlike many<br />

traditional Japanese modes, the ryukyu mode resembles a major scale, using scale degrees<br />

1, 3, 4, 5 and 7. I was also interested in finding ways to blend the timbral qualities of the<br />

violin and vibraphone, especially through the use of extended playing techniques.<br />

<strong>Komorebi</strong> was commissioned by Intrepid Music Project for their ‘New Blood’ concert series<br />

and was premiered by Salina Fisher (violin) and Sam Rich (vibraphone) at Kerr Street<br />

Artspace, Devonport, Auckland, New Zealand, on 11 April 2014.<br />

PE203 – v


Performance notes<br />

General<br />

• m127. Tempo libero: all timings in seconds and tempi are approximate but synchronisation<br />

points, shown with vertical dotted lines, should be strictly observed.<br />

• m127. Tempo libero: accidentals persist within a beamed group but otherwise apply only<br />

to the note they immediately precede.<br />

Violin<br />

• Glissandi should last for the entire notated duration.<br />

• If necessary, imperceptible bow changes may executed during long tied notes provided<br />

the bow change does not occur at either end of a glissando.<br />

Vibraphone<br />

• The vibraphone motor should remain off.<br />

• Two bows are required for the arco section to achieve a legato effect.<br />

• Mallet choice is left to the percussionist, however softer mallets should be used for the<br />

Tempo libero section.<br />

PE203 – vi


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This Edition © 2017 Promethean Editions Limited PE203 – 1<br />

ISMN: 979-0-67452-250-2


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PE203 – 2


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PE203 – 5


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PE203 – 6


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PE203 – 7


PROMETHEAN EDITIONS

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