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Xanadu, Children of the Revolution, Imagine, Antarctica (IMAX) and Breaking Through (3D IMAX). His recordings have been released on Tall Poppies, ABC Records, ABC Classics, Vox Australis, Entracte and Great Island labels. Style and influences on the Compositions of Nigel Westlake Some insight into the man and his music can be gained through the many reviews and interviews in the press. In an interview for APRA magazine (August 1990) Belinda Webster describes Westlake as an unassuming and gentle man who is profoundly dedicated to his art. She describes his music as ... a very distinctive compositional style characterised by exuberant rhythms, chuckling melodies, unorthodox harmonies and a huge sense of fun. It is relatively uncomplicated music, once described by Peter Sculthorpe as the essence of Pacific minimalism. His music expresses a sense of wonder at the world without melancholy or introverted self-analysis. This makes audiences feel good and is a reflection of Nigels own personality both on and offstage. His music has been variously described as: at the cutting edge of post-minimalism This is music that exposes the nonsense of pigeon-holing into categories... it is simply good and, above all, intelligent music program music of a high order; so much force, so much descriptive delicacy brilliantly conceived and delivered the effect was mesmerising
(Source: Westlakes biographical file, AMC library the authors of these quotes are not given).
Of Antarctica in particular, The Hollywood Reporter said: Westlakes starkly tempestuous musical score swells and ebbs with the harsh grandeur of its subject matter big effects movie producers take note.
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2 Flutes, 2 Clarinets, 2 Oboes, 2 Bassoons, Cor Anglais, 2 Clarinets, Bass Clarinet, Bass Trombone, Harp, Nylon String Guitar, Percussion (Snare Drum, Bass Drum, Marimba, Glockenspiel, Timpani,Cymbal), 2 Violins, Viola, Cello (Violincello), Double Bass There is a Trombone and Trumpet in the entire Symphony but for this Movement they are Tacet, which means that they do not play. 3|Page
Harmony
Key: D Major Focus chord is a D7 with the 3rd Omitted Dominant Pedal note in the Cello & Viola E min13 chord forms the basis of the harmony for this section. Pizzicato Bass underpins melody. A9 chord at Bar 17 works as a transition chord in the Bridge.
A1
8 to 17
B1
18 to 28
2nd Theme 0:37 To 0:46 3rd Theme 0:37 To 0:59 1st Theme 0:58 To 1:15 Bridge 1:15 To 1:20 2nd Theme 1:20 To 1:30 3rd Theme 1:30 To 1:43
Guitar plays accompanying role to the new theme in the violins. Finger picked chords played underneath Theme 2. Chord Progression D Amin7 D Amin7 B F#min7 B F#min7 G A9 Plagal Cadence (IV I) used to end the accompaniment of 2nd Theme. Theme 3 based around a Emin11 chord.
A2
29 to 38
Same as A1 The only main difference between A1 and A2 are more elaborated woodwind interjecting melodies.
Same as A1
B2
39 to 49
Same as B1 Woodwind counter melodies are filled out substantially from B1 playing contrasting long sustained noted under the violins rapidly moving melody. Flutes seem to mimic the alternating Major second motive at the end of the first theme. Theme 2 sees instruments doubling the melody to thicken the texture and change the tone colour. Violin 1 & Clarinet play the same melody but separated by an octave. Double Bass & Bassoon play the same melody Introduced to 4th Theme. Another Pas de Duex between Guitar and Harp
Same as B1 Cello pizzicato (plucked NOT bowed) added underneath the melody. Cello pizzicato seems to be mimicking the movement of the guitars lower notes.
50 to 57
1:42 To 1:54
Key change to Bb Major. Section seems to be based around aCmin13 Chord. Violins and Cellos are playing a Dominant and Tonic harmonic pedal notes underneath the Pas de Duex Harp plays a repeated quaver pulse or ostinato underneath guitar melody.
1:54 To 2:09
Short woodwind motives which first appeared as countermelodies at the end of the 1st Theme (bar 14) now appear in a thicker texture (Textural Development). Instrument doubling of these melodies thickens or
Key change to D Major. Section seems to be based around a A13 chord. Harp continues to play a repeated quaver
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changes the Tone Colour. Flute, Piccolo, Oboe 1, Violin 1 & Guitar all play melody in unison. Clarinet 2 plays melody an Octave above.
pulse OR ostinato underneath Introduction of Percussion to take key role of rhythmic component of the piece. Percussion play a 1 2+3+ rhythmic pattern (Quaver followed by 4 Semiquaver) ostinato Woodwinds and lower strings play repeated ostinato reflecting percussion rhythmic motif. DMaj, EMaj, D#min7 chord progression seems to be the basis for this section. Guitar plays a country boom-chick kind of chordal accompaniment pattern while the motif is being passed around. Syncopated rhythm in flutes, clarinets and oboes underneath Marimbas descending motif. Guitar seems to fingerpick chords outlining the pulse underneath Marimba motif but joins the flutes and woodwinds in playing their countermelody at the end of the section. Flute & Piccolo double the harps counter melody to thicken the texture. Harp part outlines the chordal background of the section.
63 to 65
2:09 To 2:30
Melodic motif passed from guitar to bassoon to guitar to oboe to flute/piccolo to guitar to bass clarinet to marimba to flute/piccolo Horns & Marimba play a descending melodic motif. Section is completed by an ascending Harp scalic run.
A3
72 to 79
2:31 To 2:47
Same as A1 Guitar melody is played an octave higher than A1. Guitar embellishes the melody with trills (hammer ons & pull offs), chromatic passing notes, fast rhythmic phrasing, Embellishments in guitar line appear from bar 77. Same as B2 Violin melody doubled by clarinet though separated by an octave. This thickens the texture of the melody. Ostinati in Guitar and Harp
B3 CODA
80 to 84
85 to 88
Chordal basis for section is Emin11 with the 3rd omitted Sustained notes with a crotchet pulse played as accompaniment by Oboes, Bassoons and Upper Strings.
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Bibliography:
Recording: Antarctica Movement III Penguin Ballet Shadow Dances Music for Guitar by Nigel Westlake Performed by Slava Grigoryan & Melbourne Symphony Orchestra Australian Broadcasting Corporation 2006 Online Analysis of Antarctica
http://docs.google.com/viewer?a=v&q=cache:X5AMrBdI6nkJ:www.rimshot.com.au/documents/ANTARCTICALECTURE.pdf+antarctic a+peter+westlake+analysis&hl=en&gl=au&pid=bl&srcid=ADGEESjJnkYIn41D71tw8O7O4-ngckQFWyJpWrs2BlwdlFtgTmtbbBzowUHrtxa8riPmrQTHcwlC152k12GIuH6nlHZMFF45xieBVkmadR5x7oB8yLrJQjZ3UK4pOxv754i2JZc14Q&sig=AHIEtbSfjVpUHM6cL2nJPQFijTRLW1Hvuw
Alfreds Pocket Dictionary of Music By: Sandy Feldstein Alfred Publishing Co. 1985 Wikipedia: Pas de Duex
http://en.wikipedia.org/wiki/Pas_de_deux
Wikipedia: Countermelody
http://en.wikipedia.org/wiki/Counter-melody
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