The Cloud of Unknowing (2004) - Kenneth Hesketh (born 1968)
for winds, brass and percussion 
World Premiere, Philharmonic Wind, the Esplanade, Singapore
20th December 2004, conductor Timothy Reynish

Kenneth Hesketh writes:

In composing this work, The Cloud of Unknowing, I was confronted by many different feelings. It was commissioned by Hilary and Timothy Reynish as part of a series of commissions in memory of their third son William. For various reasons it proved a difficult work to write, not the least in how to approach the piece and what to say musically that would not seem trite or contrived.

I turned to early English literature, in this case texts dealing with the mystical or metaphysical. Such texts have long interested me. The title of this work comes from an anonymous manual and guide to mystical experience and was written in the late fourteenth century. In a manner similar to the concept of nirvana in oriental religion, the text espouses an emptying out of all intellect, of all feeling, so that in silence God's love and majesty may rush in. A second text, namely, A Litany by John Donne, also influenced the concept of this piece, specifically with reference to stanzas 23 to 25. Certain phrases and words seem to resonate musically and it was from these beginnings that the work took shape.

The work grows from one melody which is heard almost at once. Constant variation, renewal and development of this theme moves the music forward, sometimes gently, sometime fiercely. The piece starts and ends as if from afar. Various accompanying figures are allowed to flow freely from background to foreground, seemingly at will. The overall structure moves through three sections; processional, mercurial and eventually explosive, recessional.

The Cloud of Unknowing is dedicated to the memory of William Reynish but also with deep affection to Tim and Hilary.

Hesketh’s first wind work was Danseries, (2000 Faber), a four-movement work derived from Playford's Dancing Masters Tunes of the 17th century. This was followed by Masque (2001 Faber), an energetic overture, full of good tunes and exciting scoring, and Diaghilev Dances (2003 Faber) a wonderful homage to the impressionistic ballets of the early 20th century, early Stravinsky, Debussy and Ravel, marvellously scored with great solo parts especially for subsidiary woodwind instruments.