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Tripod for vertically spatialized chamber orchestra
RSN:
69850
|
Composition Date:
2011
|
Revision Date:
N/A
|
Duration:
00:12:30
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Library Record
Programme Notes
Cataloguing Information
Call Number
MI 8870 K741tri
Genre
Mixed Chamber Ensembles (1 to 9 Performers), Octets, Woodwind(s) / Brass / Percussion, ?
Material Type
Print-music
Acquisition Date
2015-06-17
Library Collection Publisher / Label
Unpublished, printed by CMC / Inédit, imprimé par le CMC
Preview
Additional Information
Commissioned by: Redshift Music Society/Canadian Music Centre (BC Region)/Canadian League of Composers
Master Location
Toronto
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Physical Description
Found 2 record(s)
Available Actions
Extent of Item
8 parts ([43] p.);
1 score (18 p.);
Instrumentation
Found 8 record(s)
Available Actions
Set No.
Category
Instrument
Number
49635
Woodwinds
Flute
1
49635
Woodwinds
Oboe
1
49635
Woodwinds
Clarinet
1
49635
Woodwinds
Bassoon
1
49635
Brass
Horn
1
49635
Brass
Trumpet
1
49635
Brass
Trombone
1
49635
Percussion
Percussion
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
Premiere
7 June 2011, Vancouver Art Gallery, Vancouver, British Columbia. Redshift Music Society
See Also
70102, Tripod for vertically spatialized chamber orchestra, AR3213, Elizabeth Knudson, 00:12:58
Tripod was composed for a concert at the Vancouver Art Gallery, presented by Redshift Music Society, along with the Canadian Music Centre, and the Canadian League of Composers. The concert was organized to showcase the work of three emerging BC composers: Elizabeth Knudson, James O’Callaghan, and Chistopher Reiche, all of whom were accepted into the CMC/CLC’s inaugural Young Composers Mentorship Programme.Tripod was written to accompany the VAG’s Surrealist exhibit, “The Colour of My Dreams”. Just as the Surrealist movement set out to explore the unconscious mind (mind’s eye), I was imagining this work unfolding through the aperture (eye) of the camera. Several photographic/filmic devices were employed, including focus, pan, dissolve, solarization, and extreme close-up, as well as use of bold chords (creating the “positive” and “negative” of an image). Morse code also makes an appearance, spelling out the letters “Y” (why?), and “E-Y-E”. The musical saw adds an otherworldly vocal layer to the music.
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