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Symphony no. 3
RSN:
67277
|
Composition Date:
2003
|
Revision Date:
N/A
|
Duration:
00:17:07
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Library Record
Programme Notes
Cataloguing Information
Call Number
MI 1100 C311sy3
Genre
Full Orchestra (20 or more)
Material Type
Print-music
Acquisition Date
2013-03-06
Library Collection Publisher / Label
Unpublished, printed by CMC / Inédit, imprimé par le CMC
Preview
Additional Information
Commissioned by Winnipeg Symphony Orchestra/Canada Council for the Arts
Master Location
Toronto
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Physical Description
Found 1 record(s)
Available Actions
Extent of Item
1 score (69 p.) ;
Instrumentation
Daniels Instrumentation
2 2 2 2 - 4 3 2 1 - tmp+2 - hp - str
Found 13 record(s)
Available Actions
Set No.
Category
Instrument
Number
44029
Larger ensemble
Full Orchestra
1
44030
Woodwinds
Flute
2
44030
Woodwinds
Oboe
2
44030
Woodwinds
Clarinet
2
44030
Woodwinds
Bassoon
2
44030
Brass
Horn
4
44030
Brass
Trumpet
3
44030
Brass
Trombone
2
44030
Brass
Tuba
1
44030
Percussion
Timpani
1
44030
Percussion
Percussion
2
44030
Strings, plucked
Harp
1
44030
Strings, bowed
1
Divided
No
Solo
No
Divided
No
Solo
No
Divided
No
Solo
No
Divided
No
Solo
No
Divided
No
Solo
No
Divided
No
Solo
No
Divided
No
Solo
No
Divided
No
Solo
No
Divided
No
Solo
No
Divided
No
Solo
No
Divided
No
Solo
No
Divided
No
Solo
No
Divided
No
Solo
No
Premiere
Winnipeg Centennial Concert Hall 2004 The Winnipeg Symphony Orchestra Andrey Boreyko, conductor
For a time, Symphony #3 seemed to be returning to the same territory as Symphony #1 (The War of Angels). It was originally subtitled “Death and Resurrection” and was premiered on a program with that same title during the 2004 Centara Corporation New Music Festival (WSO). I was hoping that my ongoing affinity for dark, quasi-religious themes would click with my musical ideas for the piece, but in the end I decided that the extra-musical concept just didn’t fit. For me, this music doesn’t conjure a specific image—it’s more broadly physical. The ideas are still dramatic—combining sections of repressed intensity (lots of instrumental muting and dark blended orchestral colours) with melodies that seem free to float and sing, but in the end it’s the repeated rhythmic patterns from the last movement that connect directly at some non-verbal level—offering the listener an opportunity to surrender to more primal feelings.
Pendant quelque temps, Symphony #3 a semblé couvrir le même territoire que Symphony #1 (War of Angels). La pièce avait à l’origine pour sous-titre « Mort et Résurrection » et elle fut créée à un concert éponyme à l’édition 2004 du Centara Corporation New Music Festival (WSO). J’espérais que mon affinité toujours présente avec des thèmes sombres et quasi religieux iraient bien avec mes idées musicales pour cette pièce, mais en fin de compte j’ai conclu que le concept extramusical ne convenait pas du tout. Pour moi, cette musique n’évoque pas une image spécifique—elle est plus physique, au sens large. Les idées demeurent dramatiques—elles marient des passages à l’intensité réprimée (emploi fréquent de sourdines instrumentales et fusion de couleurs orchestrales sombres) avec des mélodies qui paraissent libres de flotter et de chanter, mais en fin de compte ce sont les motifs rythmiques répétés du dernier mouvement qui établissent une connexion directe à un niveau non verbal—et elles offrent à l’auditeur l’occasion de s’abandonner à des sentiments primaux.
SydneyEnterprise v4.4.0.28 - Canadian Music Centre | SydneyEnterprise (Final)