Dhyan 1 (1979)

I have always wanted to write for the cello as it is one of my favourite instruments, and when I was offered this oppurtunity by the BBC, I chose a small orchestra to balance the cello's warm and delicate tone. As the intervals on the cello are widely spaced, this allows me to use 3/4-tones with confidence as far as intonation is concerned.

Structurally the work is in three sections: moderately fast, slow and fast, plus a recapitulation of some of the opening-material at the end.

The opening material, which is played by the cello, is constructed on four conjunct sets based on intervals of 5 + 5 + 4 + 4 + 3 + 3+ 2 + 2 + 1 + 1 1/4-tones. These sets or segments of sets form the basis of the whole piece.

In the second section, the opening material announced by the cello is distributed amongst the instruments of the orchestra without any regard to its original rhythmic pattern, creating an harmonic aspect of the material as well as maintaining the original pitch order. This part is repeated within the section and leads directly to the cadenza.

The cadenza is written only in respect of pitch, the sets of which are derived from the entire work and not just the music heard up to this point.

The third section is based on double the intervals of the opening set, i.e. 10 + 10 + 8 + 8 etc. and its retrograde. This section is brought to an end by a climax which is a palindrome of a climax already heard.

The piece ends by recalling some of the opening material in a new shape on the cello as well as the orchestra.

The most accurate equivalent in English to the Hindi word 'Dhayan' is meditation. As most compositions could be said to be a form of meditation, thus my title.

-Naresh Sohal