Tachophobia

This cello sonata takes two very different sources for its inspiration: J.S. Bach and Tarantino’s film Deathproof (2007). Bach speaks for himself: how can one not think of him when writing for cello? Where Tarantino’s orgy of fast cars, beautiful women, a twisted predatory male and adrenalin fits in perhaps takes more explanation. In writing this piece two qualities of Tarantino’s film impressed me: its gutsy yet intimate cinematography (there are no special effects; all stunts are real) and its simple black-and-white symmetrical structure, causing the second half of the film to be viewed in a particular way having been set up by the first half.

The sound of the cello is remarkable for its expressive range. From darkly sinister to highly-strung intensity to the sweetest lyricism, perhaps no instrument lends itself better to a musical representation of the qualities I was impressed by in Deathproof. The four movement structure – inspired by the symmetry of the film – is designed to exploit contrast. Thus the four movements are organised: lyrical/dark – physical/light – lyrical/light – physical/dark. The climactic final movement is in fact an attempt to depict the intense speed, physical excitement, and inescapable fear of a car chase.

This sonata was composed for the cellist Oliver Coates during the spring and summer of 2008.