Canadian Music Centre | SydneyEnterprise (Final)
Hello, Guest
Add As Favorite
Language
Log out
Viewing Library Collection
Copy
Request
Views
OPAC Composer Showcase LibCol View
OPAC Mobile LibCol View
OPAC Search LibCol View
Circulation
Add to Favourites
My Favourites
Select
/
Clear
favorite
Add
/
Remove
Create a New Favourites List
Add
Refug(u)e Opus 64
RSN:
71597
|
Composition Date:
2014
|
Revision Date:
N/A
|
Duration:
00:01:15
Share this record
Email
Library Record
Programme Notes
Copies
Cataloguing Information
Call Number
MI 2110 P242re
Genre
Solo Piano
Material Type
Print-music
Acquisition Date
2016-08-25
Library Collection Publisher / Label
Unpublished, printed by CMC / Inédit, imprimé par le CMC
Preview
Master Location
Toronto
Loans
Borrow a copy of this work by adding it to your
Loan Requests
and then submitting your Loan Request to CMC.
Purchase
Click Here
to purchase this work online.
Physical Description
Found 1 record(s)
Available Actions
Extent of Item
Score (landscape)
Instrumentation
Found 1 record(s)
Available Actions
Set No.
Category
Instrument
Number
51559
Keyboard
Piano
1
Divided
No
Solo
No
Premiere
20 Jan 2015, St. Lawrence Centre, Toronto Barbara Pritchard, Piano
See Also
71678, Refug(u)e Opus 64, AR3284, Michael Parker, 00:01:41
Refug(u)e was written as part of an ongoing project initiated by pianist Barbara Pritchard:“’Variations’ is a set of miniatures for solo piano…They are based (or not)on the composers’ reactions to the following excerpt from Maggie Helwig’spoem ‘The Other Goldberg Variations” (in Talking Prophet Blues):The piano is not the end, butthe means, the mediatorof body and music. The bodyis not the beginning, butmust do for the moment. The musicis not the end.The title of the work is a combination of the words “refuge” and “re-fugue.” Whenever Iam in need of spiritual restoration I always turn to the music of Bach as my refuge. Inform, the piece is a fugue, but is also a reworking of material from the original GoldbergVariations: hence a “re-fugue.”The first two bars of the Aria from the Goldberg Variations become the subject of thefugue. However, instead of developing this melody, I chose to combine the fugue subjectwith exact quotes from some of the variations in the Bach original (specificallyVariations 1, 8, 17, 20, 23). There is a cadenza over (and under) lengthy trills in themiddle of the piece and the work ends with a dramatic coda.For Refug(u)e, I was especially drawn to two phrases in the Helwig poem. I interpretedthe phrases “the piano is not the end…the music is not the end” to mean that the musicnever stops. I have therefore ended Refug(u)e in such a way as to suggest that the fugue is continuing even though the pianist has stopped playing.
Found 1 record(s)
Available Actions
CMC Location
Barcode
Copy Status
Circulation Status
Number of Copies
Toronto
01TO71597
In Circulation
Available for Loan
01
SydneyEnterprise v4.4.0.28 - Canadian Music Centre | SydneyEnterprise (Final)