Programme notes

Paradigmationen (‘Paradigms’) for oboe, bass clarinet, marimba and viola was originally composed for clarinet, bassoon, violin and viola as part of a larger work, Fünf Skizzen nach Kunstwerken von Willem Boshoff. The instrumentation was changed so that this work could be performed by the ensemble of the New Music Meeting that preceded the annual conference of the South African Society for Research in Music (SASRIM). This work is based on an artwork, Tafelboek (‘Table book’), by Willem Boshoff. When fine distinctions are made between the patterns in this movement, these patterns can be classified into different paradigms. However, it will also be possible to classify these patterns into two or even one paradigm. These different possibilities of the classification of patterns in terms of their similarity with regard to elements of music are on a conceptual level similar to Tafelboek. When Tafelboek is opened, one is overwhelmed by many rectangular pieces of wood; similarly, Paradigmationen can be understood as many patterns with little similarity between them. Only certain parts of Tafelboek can also be opened and closed in order to get a flat surface on the one side and an uneven surface on the other side. Similarly, Paradigmationen can be understood as a composition of which certain sections contrast with the recurring opening material.

Composer's statement

Tafelboek

https://www.willemboshoff.com/product-page/tafelboek

Year: 1975 – 1979

Collection: Gordon Schachat

Material: Discarded rectangular wood offcuts

Size closed: 57 x 187 x 71 cm

Size open: 57 x 276 x 165 cm

Description: The theme of this sculpture was inspired by a book’s content: books are closed most of the time and one can only know the content if you open and read the book from the beginning to the end in that specific order. Tafelboek is very similar to an ordinary book: the detailed content is unlocked when the sculpture is opened and it can only be understood if it is ‘read’ in the correct order to make a good ‘conclusion’. If you open or close the sculpture in the wrong way or order, the sculpture will collapse (Boshoff, 2007:34). Boshoff (2007:34) writes that he started to work on this sculpture when he lived in a cramped subterranean flat in Hillbrow which was too small to house a large sculpture. He foresaw that this sculpture might be used as a communion-table at a church when it is closed. It would then be a coffin which represents the death of Christ. When the ‘coffin’ is opened, it becomes like a New Jerusalem which metaphorically represents a new life that begins through the death of Christ. Like Christ’s father, Willem Boshoff’s father was a carpenter; he took a great pride on this fact.

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                            Tafelboek by Willem Boshoff – partially opened                                       Tafelboek by Willem Boshoff – completely closed

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Paradigmationen

This movement for oboe, bass clarinet, marimba and viola starts with a three-bar pattern. This pattern is altered and extended in the restatements that follow. Contrasting material is heard in section B and C but this material is in fact derived from its contrasting material. When fine distinctions are made between the patterns in this movement, these patterns can be classified into different paradigms. However, it will also be possible to classify these patterns into two or even one paradigm. These different possibilities of the classification of patterns in terms of their similarity with regard to elements of music are on a conceptual level similar to Tafelboek by Willem Boshoff. When Tafelboek is opened, one is overwhelmed by many rectangular pieces of wood; similarly, Paradigmationen can be understood as many patterns with little similarity between them. Only certain parts of Tafelboek can also be opened and closed in order to get a flat surface on the one side and an uneven surface on the other side. Similarly, Paradigmationen can be understood as a composition of which certain sections contrast with the recurring opening material.

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Recordings