Intarsia

At one time in my life, I was quite interested in furniture making and woodworking. One thing I found fascinating—and still find fascinating—is wood’s incredible variety as well as the singularity of every board. Each species of tree has its own personality, and each individual tree is unique. When woodworking, it’s good to keep such idiosyncrasies in mind, especially when juxtaposing different varieties. One technique of juxtaposition is called intarsia, which refers to a kind of inlay used to create mosaics from different kinds and shapes of wood. It’s also a term used in knitting when creating patterns with differently colored and textured yarns. As I began to compose this work, I thought about this technique and how appropriate it seemed for wind ensemble, with its tremendous possibilities for musical color, texture, and combinations. Although some colors match beautifully, others contrast strongly. Some instruments are made of wood while others are made of metal, and while some voices stand out, others blend and recede. In fact, it seems to me that a wind ensemble is like a microcosm of a society with many unique voices. And like society, the challenge is to create a harmonious and vibrant whole while still allowing for individuality.

In Intarsia, I focus on different kinds of contrasting musical material. There are long held notes and slowly moving melodies that blur and overlap; these contrast against sharp, percussive chords. There are juxtapositions of high and low voices, of bright and dark colors, and of brass and woodwinds. There are pure, consonant harmonies as well as dissonant clusters of notes. Each of these contrasting ideas forms part of a larger sonic mosaic that weaves together disparate voices.

—John Fitz Rogers