�Portrait VII� was inspired by a combination of the prodigious talents of trumpeter H�ken Hardenburger, the innovative compositional techniques of HK Gr�ber (1943 - ), and the contemporary sound world of Einojuhani Rautavaara (1928 - ). The work takes its name from a lithograph drawn by Pablo Picasso (1881 � 1973) in May 1946, a print of which hangs in the composer�s home. A copy of this portrait can also be viewed at Annex A. The piece is written in three movements, each of which attempts to portray the surreal nature of the corresponding art work.
The first movement begins with a fragmentation of the main motif segmented in-between steadily decreasing moments of silence. This motif is constructed in an almost serial fashion of rising and falling fourths, which is gradually developed, fragmented and inverted. The movement has an arch-like, palindromic form, which leads it to close in a similar style to the beginning.
The second movement employs extensive use of aleatoric techniques and notation devices as utilised by Karlheinz Stockhausen (1928 - ). A series of six specific pitches (in any tessitura) are to be played in conjunction with the specific performance directions. A legend of these specifications is provided overleaf.
The third and final movement comprises a short �song and dance�. The movement starts with a series of �double stopped� cadences combined with sung fragments of poetry written by the artist about the portrait. The �dance� section is composed using the same intervallic relationships of the �song� with the addition of fragmentation and valeur ajoute� techniques of Olivier Messiaen (1908 � 1992).
To conclude, �Portrait VII� is a fusion of contemporary compositional techniques designed to encourage virtuosic, prodigious performing flair. It is offered as a stern examination for any trumpeter of a professional standard.
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