Naya Jeevan, concerto for double bass and wind ensemble

Abstract

Naya Jeevan, meaning new life in Hindi, is a twenty-four minute, two-movement concerto for double bass and wind ensemble. While the two movements vary drastically in mood, texture, and tone, they both explore intensity and the ebb and flow of energy using repetition, extensive heterophony, and extremely limited melodic materials. Both movements employ a variety of recurring and overlapping pitch and rhythmic patterns that are treated semi-canonically on the micro level and cyclically on the macro level. It is the shifting alignment of all these recurring elements in conjunction with a subtly varying solo line that gives both movements a sense of ever-increasing musical tension. The melodic material for each movement comes from two different six-note modal pitch collections, with pitches outside of the mode used as embellishing tones and chords that color the harmonic field. The first movement is governed by a slow, recurring solo line that is supported and later taken up by the ensemble. The bass acts like a cantor, often leading the ensemble in various reiterations of the primary melody. This melody is accompanied by interlocking, repeating patterns that create a shifting harmony, resulting in a polytonal sound. Together, these elements create large-scale cycles of slightly varied length that constitute the formal makeup of the movement. The recognizable, repeating melody in conjunction with the somewhat dissonant accompaniment gives the movement a ritualistic or processional mood that is inspired by the sound of medieval motets and conductus. The energetic second movement incorporates several simple, interrelated melodies that are played by the bass. These melodies are also presented either heterophonically or imitatively by the ensemble and are often doubled at the octave and fifth. An insistent chaconne-like chordal pattern permeates the majority of the movement and governs the form. This movement also requires significant extended techniques in the solo part. These add a layer of timbral variety to the melodic focus of the work. The persistent rhythmic pulse, preference for doubling lines at the octave and fifth, and raag-influenced melodic and harmonic character are loosely inspired by Carnatic and Hindi film music