Stephen Montague - From the White Edge of Phrygia

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From the White Edge of Phrygia (1984)

orchestra - 19'

Commissioned by the Sadlers Wells Royal Ballet, London for the ballet, Median, choreographed by Jennifer Jackson.
First performance: 3 January, 1985, Sadlers Wells Theatre, London. The Sadlers Wells Royal Ballet Orchestra, Barry Wordsworth, conductor.
Compact disc recording: The Florida Orchestra (Jahja Ling, conductor) Continuum label (UK/NZ) CCD1061(released 1994).

The title refers to the use of "white sound" and the use of the Phrygian scale or mode: e to e on the keyboard (with no sharps or flats). In the ancient Greek doctrine of Ethos in which an ethical character was assigned to each mode, the Phrygian mode was characterised as the scale which evoked ecstasy and passion.

Stylistically the work has been called "post-minimalist" since it is a fusion of both American minimalism and the European symphonic tradition. The modal harmonic basis and extensive use of repetitive phrases and patterns are elements usually associated with the so-called minimalists, but this work also exhibits a clear, three part formal structure as well as a definite feeling of growth, climax and denouement, elements not usually associated with minimalist music. The orchestration is sprinkled with numerous extended techniques such as the strings using pencils or short sticks to play their instruments, the wind players blowing air through their instruments ("white sound") and the piano "prepared" with rubber wedges stuck between the strings.

From the White Edge of Phrygia is a full orchestra version of the 1983 chamber work, At the White Edge of Phrygia, commissioned by The Academy of London chamber orchestra (Richard Stamp, Music Director). The full orchestra version was commissioned by the Sadler's Wells Royal Ballet for the ballet, Median, choreographed by Jennifer Jackson and for that ballet production an additional 10 minute movement, Prologue, was added.