Located in the UK
Located in the USA
Located in Europe
- Oliver Davis
Infinite Ocean (2017)
- Eaton Music (World)
Programme Note
The infinite ocean was composed for choreographer Edwaard Liang and was commissioned by San Francisco Ballet for the Unbound festival, 2018.
Liang requested the work to be in six sections and to feature a solo violin. The opening section was to be an ensemble piece. After a graceful introduction, the solo violin enters playing a very fast arpeggiated figure which, despite its virtuosic feel, is actually accompanying the first violins’ melody. Only after this section does the solo violin take centre stage. The second section is a Pas de Deux, for which I wanted to create a very serene movement following the intensity of the opening. The third section was to feature male solos, hence the use of brass and percussion. Following this is a duet, where I used woodwind and pizzicato strings to create a lighter feel. The fourth section pushes forward rhythmically and is an ensemble piece for the dancers. In the fifth section Liang wished to have a second Pas de Deux but this time the duet would be more sombre and reflective in mood. The ballet finishes with a full cast ensemble piece which I wrote using a rhythmic ostinato figure ending in a climactic crescendo. Edwaard Liang’s vision is inspiring and I found the project very exciting.
Liang requested the work to be in six sections and to feature a solo violin. The opening section was to be an ensemble piece. After a graceful introduction, the solo violin enters playing a very fast arpeggiated figure which, despite its virtuosic feel, is actually accompanying the first violins’ melody. Only after this section does the solo violin take centre stage. The second section is a Pas de Deux, for which I wanted to create a very serene movement following the intensity of the opening. The third section was to feature male solos, hence the use of brass and percussion. Following this is a duet, where I used woodwind and pizzicato strings to create a lighter feel. The fourth section pushes forward rhythmically and is an ensemble piece for the dancers. In the fifth section Liang wished to have a second Pas de Deux but this time the duet would be more sombre and reflective in mood. The ballet finishes with a full cast ensemble piece which I wrote using a rhythmic ostinato figure ending in a climactic crescendo. Edwaard Liang’s vision is inspiring and I found the project very exciting.