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Hitchcock Études for string quartet, percussion, soundtrack and video
Found 1 record(s)
MI 9233 L789hi
Works with Electronics / Multi-Media, Chamber Ensemble (2-9 Performers), Percussion, Bowed String(s)
Library Collection Publisher / Label
Unpublished, printed by CMC / Inédit, imprimé par le CMC
Pour Quatuor à cordes, percussion et multimedia (bande et vidéo). Percussion: Glockebspiel, vibraphone, marimba, hi-hat, Chinese cymbal, Splash cymbal, Sizzle cymbal, Ride cymbal, Metal Wind Chimes, Large Cabasa, Medium & Large Tam-tam, Concert bass Drum Le matériel multimédia est disponible auprès de la compositrice. La version originale de cette oeuvre est pour piano et électronique. Oeuvre publiée au CMC Québec. - - - For String Quartet, percussion and multimedia (soundtrack and video). Percussion: Glockebspiel, vibraphone, marimba, hi-hat, Chinese cymbal, Splash cymbal, Sizzle cymbal, Ride cymbal, Metal Wind Chimes, Large Cabasa, Medium & Large Tam-tam, Concert bass Drum All multimedia materials are available from the composer. The original version of this piece is for piano, glitch and film.
Level of Difficulty
24 janvier 2014, Artscape Wychwood Barns Mainspace,Toronto, ON; Music in the barns.
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Found 5 record(s)
The original work was commissioned by Megumi Masaki. Premiered July 17, 2010 Casalmaggiore International Music Festival, Auditorium Santa Croce, Casalmaggiore, Italy. Dedicated to Meg Masaki. The reorchestration was commissioned by Music in the Barns. The premise for Hitchcock Études is centered around my ongoing preoccupation with the fallibility of media. Technology has the potential to fail and can fail in spectacular ways, creating fascinating sounds and visuals. How to capture and replicate those beautiful mistakes? All of the soundtrack material and visuals are from “middle period” Hitchcock ?lms. The source material is deconstructed, spliced and otherwise “damaged”, resulting in layers of disjunct, erratic rhythmic material, twisted melodic lines and harmonies. These imperfections and errors are woven together to create a new sonic landscape over which the accompanying acoustic material is performed live. The sound materials extend beyond Bernard Hermann’s soundtrack and into the foley sounds and other audio artifacts present in the ?lm. The glitched sound material is precisely notated to enable the live piano to synchronize and interweave in tandem with the “malfunctioning” track and video. Notation or transcription is an important component of the work. It is coaxing material from existing material by altering its physical state; illuminating hidden melodies, gestures, and rhythms. In his 24 Hour Psycho (1993) the Glasgow-based artist Douglas Gordon sought to uncover the unforeseen ‘micro-narratives’ lurking in Hitchcock’s ?lm by slowing it down to approximately 2 frames per second. I approach these études with the same basic motivation in mind, extending the search to sound in ?lm – and then extending it still further by creating a new work with my ?ndings. The goal in this manipulation of the visual and audio material will be to both rely on and to subvert the audience’s preexisting knowledge of the material. It will be at once familiar and alien, and it is this duality that intrigues me. Nicole Lizée 2010
La version originale de cette oeuvre était une commande de Megumi Masaki. Créé le 17 juillet 2010, Casalmaggiore International Music Festival, Autitorium Santa Croce à Casalmaggiore, Italie. Dédié à Meg Masaki. La réorchestration de cette oeuvre est une commande de Music in the Barns.
Found 1 record(s)
Extent of Item
1 partition (viii, 96 p.) ;
Found 4 record(s)
Number of Copies
Available for Loan
SydneyEnterprise v188.8.131.52 - Canadian Music Centre | SydneyEnterprise (Final)