In February 2013 I met with Schonken and proposed a commission with respect to a trio for horn, soprano saxophone and marimba. I expressed my interest in the use of extended techniques and new approaches to horn writing. He duly accepted the commission albeit somewhat uncertain about the instrument combination. He anticipated that the greatest challenge in working with this trio combination would be to find a sound paradigm in which the three instruments would be equal, and with each coming into its own. Schonken was open to the idea of collaboration and, since we lived in the same town, regular meetings would be possible.
The series of meetings that followed initiated with discussions concerning the composer’s intentions with the work as well as the technique and potential of the horn. Schonken’s approach to composition was thoughtful and methodical, and he was committed to using each instrument optimally. The composer requested practical demonstrations of certain techniques on the horn and sought greater insight into rapid tonguing, harmonics, muting, high range etc. As I demonstrated unusual techniques such as half-valve effects and tremolos, he was constantly developing and formulating new ideas, impressed by the versatility of the horn.
Later meetings involved the examining of new material, more demonstrations and discussions on issues that arose. When first presented with a section of the work, which was to become part of the fifth and final movement, my examination of the score revealed a number of technical
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difficulties for the horn. This included the very high initial entry, repeated octave leaps and certain hand glissandos. These concerns were discussed with the composer, but only thorough practice would reveal whether they were possible for me to perform. In general the horn writing appeared to be accessible, but with sufficient challenges to make it interesting. In this meeting I also noticed a change in instrumentation from soprano- to alto saxophone.22
More new material followed, sometimes only consisting of short sketches to try out and find the best approach. During my practice sessions some uncertainties arose regarding notation and interpretation as well as certain technical concerns such as endurance. Schonken was helpful in answering questions and receptive to my suggestions. I played selected passages to ensure that both performer and composer were in agreement.
As Schonken was initially challenged by the idea of writing for this specific trio combination, he wanted to find a way to bring the winds and percussion “closer together”. His solution for the problem was to use special effects. In one session the composer requested that the saxophonist and I demonstrate and attempt certain extended techniques such as air sounds and percussive effects. Although I had at some stage in my musical career experimented in this regard for personal amusement, I had never considered that these techniques would be incorporated into a composition for horn, and I was intrigued as to how the remainder of the Schonken’s trio would unfold.
When rehearsals commenced in August, only the fifth movement had been completed, but was to be preceded by four very short movements, which Schonken was still working on. The composer, who attended the rehearsal, expressed amazement at how well the three instruments blended together, which was not what he had anticipated several months earlier.
At a later rehearsal we were presented with the rest of the work which required the use of several extended techniques for all three instruments. The production of air sounds required some experimentation in order to achieve the effects that the composer had anticipated. Incorporating air sounds and different percussive effects into our playing was challenging. In addition, the entire piece was difficult to put together as it posed numerous timing issues and we had to resort to having regular rehearsals in order to acquaint ourselves with the music and unusual techniques. The workshop occurred two weeks before the performance in the Endler Hall, Stellenbosch, where it would be performed, and the purpose was to test Schonken’s new work with its innovative combination of instruments and inclusion of unusual effects. The session commenced
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Schonken explained that he believed the alto saxophone would partner better with the horn and could allow for greater opportunities for performance, since alto saxophone is more frequently played as opposed to soprano saxophone.
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with a play through of the entire composition, followed by intensive work on each movement. The composer had many suggestions concerning interpretation including dynamics, articulation and phrasing. Balance was a key factor addressed that day, and experimentation with the stage setup resulted in a new formation which resolved a number of issues. The air sounds produced by the horn and saxophone were noted to be very effective in the hall and overall the composer was pleased with the outcome of the work thus far.
The two remaining rehearsals were devoted to final touch-ups and becoming more comfortable with the piece. Schonken’s work posed a number of new challenges to all three performers: high technical demands were set for each player, which were initially met with apprehension; the music required a paradigm shift, calling for sounds and effects unusual for our instruments; and the particular trio combination was a fresh experience with new aspects of ensemble playing to consider. Through a series of seven rehearsals, the initial obstacles gradually became less daunting and the music was allowed to grow on us.