Komorebi

PrometheanEditions

by Salina Fisher | Violin and Vibraphone

PROMETHEAN EDITIONS

SALINA FISHER

Komorebi

Violin and Vibraphone


SALINA FISHER

Komorebi

Violin and Vibraphone

PROMETHEAN EDITIONS

WELLINGTON


Komorebi (PE203), for Violin and Vibraphone by Salina Fisher

(2014)

© Salina Fisher 2014

First edition © 2017 Promethean Editions Limited (202103)

Series Editor: Ross Hendy

Editor: Ben Woods

ISBN: 978-1-77660-923-9 (print)

ISBN: 978-1-77660-203-2 (ebook)

ISMN: 979-0-67452-250-2

Promethean Editions Limited

PO Box 10-143

Wellington

NEW ZEALAND

http://www.promethean-editions.com

No part of this publication may be reproduced in any form or by

any means without permission in writing from the Publisher.

PE203 – ii


Salina Fisher (1993)

Salina Fisher is a Wellington-based composer and violinist of New Zealand and Japanese

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

Germany, Australia, Malta, and China, with performances and commissions from ensembles

including the New Zealand Symphony Orchestra, New Zealand String Quartet, Auckland

Philharmonia Orchestra, NZSO National Youth Orchestra, Stroma New Music Ensemble,

Mimosa Ensemble, and Lazarus String Quartet.

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

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

learning the violin. Fisher’s violin teacher observed her advanced grasp of composition and

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

performed by the visiting Netherlands Wind Ensemble at the Wellington Town Hall as part of

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

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

Suite No.1 was performed by the Christchurch Symphony Orchestra.

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

violin performance at the New Zealand School of Music. Under the tutelage of John Psathas

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

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

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

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

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

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

International Music Competition. In 2016 Fisher became the youngest ever winner of the

SOUNZ Contemporary Award, New Zealand’s premier composition prize, for her orchestral

work Rainphase, which was written during her time as the 2015 NZSO National Youth

Orchestra’s Composer-in-Residence.

PE203 – iii


Fisher has performed on traditional Japanese instruments koto, taiko, and shamisen, and has

recently begun exploring taonga pūoro, the traditional Māori instruments of New Zealand. Her

work Tōrino, commissioned in 2016 by Chamber Music New Zealand for performance by the

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

Thorne. Fisher has also written for film, scoring the 2016 short film Misimpressions.

Speaking about her compositional style and influences, Fisher states:

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

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

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

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

new piece presents an entirely new set of challenges, and sends me on an unpredictable

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

traditions of Japan and New Zealand, and experimenting with timbre and colour,

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

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

described as fragile or haunting. My experience as a performer undoubtedly influences my

writing, which often begins through improvisation with the violin, piano or voice.

As a violinist, Fisher has frequently performed as a casual player with the New Zealand

Symphony Orchestra since 2012. She has been a member of the NZSO National Youth

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

violinists including Nicola Benedetti, Pietari Inkinen, and Pinchas Zukerman, and was

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

ABRSM Diploma in Piano Performance.

Latest information about the composer may be found at www.salinafisher.com.

PE203 – iv


Komorebi (2014 )

Wondrous and seemingly weightless, Komorebi flickers into life with sustained violin

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

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

the vibraphone’s rhythmic figure, now given nuance through evolving articulations and

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

of the work, punctuated with aching glissandi descents. Komorebi eventually breaks free from

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

the vibraphone’s elastic, rolling gestures and bowed keys converse with the violin’s harmonic

tremolos and delicately expressive statements.

The composer writes:

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

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

tonal basis of Komorebi. Ryukuan musical traditions differ from those of mainland Japan

in several ways, including the use of different instruments and tonalities. Unlike many

traditional Japanese modes, the ryukyu mode resembles a major scale, using scale degrees

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

violin and vibraphone, especially through the use of extended playing techniques.

Komorebi was commissioned by Intrepid Music Project for their ‘New Blood’ concert series

and was premiered by Salina Fisher (violin) and Sam Rich (vibraphone) at Kerr Street

Artspace, Devonport, Auckland, New Zealand, on 11 April 2014.

PE203 – v


Performance notes

General

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

points, shown with vertical dotted lines, should be strictly observed.

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

to the note they immediately precede.

Violin

• Glissandi should last for the entire notated duration.

• If necessary, imperceptible bow changes may executed during long tied notes provided

the bow change does not occur at either end of a glissando.

Vibraphone

• The vibraphone motor should remain off.

• Two bows are required for the arco section to achieve a legato effect.

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

Tempo libero section.

PE203 – vi


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Salina Fisher

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Komorebi © 2014 Salina Fisher

This Edition © 2017 Promethean Editions Limited PE203 – 1

ISMN: 979-0-67452-250-2


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PE203 – 2


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PE203 – 3


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PE203 – 7


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