Year: 2024

Instrumentation: Violin & Fixed Electronics (Stereo Playback) – Just Intonation Tuning

Duration: 8:00”

About: Commissioned by the London Symphony Orchestra for Mira Benjamin. 5-Star Review by The Morning Star of the concert: https://morningstaronline.co.uk/article/fit-fiddle describing Genesis Cradle as “a gentle nursery-inspired exploration in radical tuning and harmonic experimentation.” As part of my LSO residency I was invited to write for The Strad an article about microtonal violin writing: https://www.thestrad.com/playing-hub/composer-anselm-mcdonnell-explores-microtonal-music-on-the-violin/18703.article

Genesis Cradle draws on themes of origins, safety, cocooning, and beginnings. While writing this composition my wife and I were expecting our first child (who was born two days after the piece was finished!) Each night, we played music for him in the womb, including an LSO recording of Debussy’s Clair de Lune. Genesis Cradle reimagines the lullaby as heard from an ethereal distance, evoking the gentle rocking motion of Debussy’s famous work. Allusions to Clair de Lune’s opening motif surface intermittently throughout the piece, like glimpses of the moon appearing briefly from behind clouds. The piece is composed in Just Intonation, a tuning system where intervals are tuned to the natural resonance of the harmonic and subharmonic series, creating sonorities of crystalline clarity, contrasted with shimmering dissonances that vibrate with complex beating patterns. This resonance ties in nicely to Debussy’s intended soundworld for Clair de Lune, evident from his instruction to pianist Maurice Dumesnil “to depress the two pedals before starting, so that the overtones would vibrate immediately upon contact.”

Performance History: Premiered by Mira Benjamin at LSO St. Luke’s 12/10/24

Navigate Solo Works