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Piece percussionique no. 5 for two percussionists and stereo tape [revised 2007]
RSN:
61955
|
Composition Date:
1970
|
Revision Date:
2007
|
Duration:
00:10:00
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Library Record
Programme Notes
Copies
Cataloguing Information
Call Number
MI 9230 H824pi 2007
Genre
Chamber Ensemble (2-9 Performers) with Electronics / Multi-Media, Percussion
Material Type
Print-music
Acquisition Date
2009-12-16
Library Collection Publisher / Label
Unpublished, printed by CMC / Inédit, imprimé par le CMC
Preview
Additional Information
2 percussion + electronic stereo tape 1. Xylophone, Chime in E, 5 Temple Blocks, Large and Small Triangles, Small Suspended Cymbal, Tenor Drum, Large Tam Tam, Slap Stick 2. Vibraphone, Chime in F#, 5 Wood Blocks, High and Low Antique Cymbals, Large Suspended Cymbal, Bass Drum, Small Tam Tam, Bamboo Chimes Both percussionists read from the full score. There are no parts. 3 copies suggested for performance with the extra one for the person doing the sound cues.
Master Location
Toronto
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Physical Description
Found 1 record(s)
Available Actions
Extent of Item
1 score (13 p.) ; 24 x 32 cm.
Instrumentation
Found 2 record(s)
Available Actions
Set No.
Category
Instrument
Number
33188
Percussion
Percussion
2
33188
Electronic
Tape / Fixed media
1
Divided
No
Solo
No
Divided
No
Solo
No
Premiere
23/01/1982 1982 retrospective concert The Music Gallery, Toronto Beverley Johnston and John Brownell, percussion. Michael Horwood, tape.
"Piece Percussionique No. 5" is the fifth in a projected series of percussion ensemble works. Besides the Microduets and symphonies, it is my only other series. This work is concerned with opposite and retrograde structures superimposed over a larger, seven part palindrome. Like my "Sextet" composed around the same time, there is a strong concern for structure and architecture, almost to a proto-serial level. I acknowledge this from the influence of my two teachers at the time, Dr. Ramon Fuller and Dr. Lejaren Hiller.
The tape is present in all odd-numbered sections. The percussion is present in all but the first, which may be considered a "solo" for tape. The introductory section (tape alone) is divisible into four alternating entries to a maximum of thirty second intervals. The texture is chordal. Next is a xylophone solo (first percussionist) on a 37 note row divided into groups of one to five pitches and proceeds in a gradual decrescendo from fff to ppp. This is retrograded a fifth lower in the penultimate section on vibraphone (second percussionist). In the third section, the tape presents another transposition of the row with its own retrograde in the other channel. The second percussionist halves the cresendo-diminuendo of the previous section with two simultaneous rolls (large cymbal, fff-ppp-fff and small gong, ppp-fff-ppp). Again, this is reversed in the third last section with the first percussionist using a small cymbal and a large gong. The central section, flanked by loud chime strokes, is a percussion duet. All its durations, dynamics and lengths of ritardandi/accelerandi were determined from random numbers generated by computer and was the first part of the piece to be "composed." For the computer, this generation of some 600 random numbers was tagged Project THETRE (theatre). It also explains the final section of the work. This consists of a gradual build up to an improvised section in which the players are instructed to, among other things, drop, break and throw various objects, and yell; hence the theatrical/visual excitement explicit in the project title. This finale thereby completes the opposites of theater versus music, random versus calculated and, of course, live versus taped sounds.
Recorded on Albany Records, TROY1122, 2009
Found 4 record(s)
Available Actions
CMC Location
Barcode
Copy Status
Circulation Status
Number of Copies
Calgary
01CA61955
In Circulation
-
1
Toronto
01TO61955
In Circulation
-
1
Montréal
01MO61955
In Circulation
-
1
Vancouver
01VA61955
In Circulation
-
1
SydneyEnterprise v4.4.0.28 - Canadian Music Centre | SydneyEnterprise (Final)