The sleep of reason produces music...
Ahead of the premiere performance of his piece The Sleep of Reason at the Kupka's Piano concert on April 19, composer Jakob Bragg talks about what inspired the piece and what some of the sonic ideas therein. Make sure to book your ticket today!
Jakob Bragg: As my works delve more and more into that murky subterranean post-tonal world, my art has found a renewed purpose, taking on those worldly issues closest to me.
It was after beginning my postgraduate studies, having learnt with a variety of composition teachers, and experiencing a few extra thought provoking art exhibitions that I finally decided that my music would take a new turn. By no means am I considering this to be the official beginning of my ‘mature’ works; simply that music has now become more than an experiment in sounds and theory, but a vehicle for views, ideas; a stance.
The Sleep of Reason, composed for 'pierrot-type' ensemble, Kupka’s Piano, is one of my first works to address this. Taking its title from Goya’s famous etching: El sueño de la razón produce monstros (the sleep of reason produces monsters), this work is one of 80 satirical etchings and aquatints entitled ‘Los Caprichos’, condemning the many facets of Goya’s 18th-century Spain. These include comments on topics such as the aristocracy, politics, religion and the clergy, superstition, and morality.
Goya’s etching incorporates many concerns of today’s society as it did in his; illustrating that where ignorance outweighs reason, and where sense faults, monsters such as fear, intolerance and superstition emerge, taking on well-known forms in politics and religion.
Like in other works I’m currently writing, these elements are crucial to the development, thoughts, and process of the piece, however they need not rule every component. For The Sleep of Reason, this provided a starting point and a guide to how the piece will evolve. At its simplest level I’ve juxtaposed an intense and fluid opening and ending with a slow static middle section. ‘Reason’ can be complicated and radical concepts difficult to grasp, whereas ignorance and faith lulls, and creates a fabricated sense of reassurance – this is the rather elementary impetus for my work. A pacified middle section ceases the momentum and energy of the work, and an unnerving sense of discomfort develops in the listener. Rumbles and movement begin to interfere more and more until the artificial comfort of the piece break away and reason (as brutal and difficult as it is presented here) takes back the fore.
More explicit musical materials that influence this and many of my works, include my continued exploration of microtonality and my fascination with classical Turkish music. Having delved into music of the Middle East during the end of my undergrad, and then further examining how this could affect my own works in the following years, I came to the conclusion that I wasn't interested in integrating a bastardisation of the makam (quasi-modal like structures) but rather in focussing on heterophony and form. Heterophony is a more complex monophony, a simultaneous variation of a single melodic line. A rather simplistic definition of textural aspect of Turkish music, I have been fascinated with this push and pull, and slight deviation that play out in largely unison compositions. In many instances in The Sleep of Reason, unison appears to be striving for dominance, however never quite coming to fruition, or constantly being pulled back and forth. Additionally the unique forms in Turkish music and how these develop have provided many possibilities in how my material transform, especially on the micro-scale. Instead of dictating a scalic figure or tone-row, I use certain pitches as mapping points, for example moving from a dominance of C# down to Bb.
A massive thanks to Kupka’s Piano for their tireless work and support and I look forward to seeing the diverse programme of works on the 19th!