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Cut for flute, clarinet, trumpet, percussion, piano, violin and cello
RSN:
52765
|
Composition Date:
1996
|
Revision Date:
N/A
|
Duration:
Not Provided
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Library Record
Programme Notes
Copies
Cataloguing Information
Call Number
MI 8775 C957cut
Genre
Mixed Septets, Woodwind(s) / Brass / Percussion / Keyboard(s) / Bowed String(s)
Material Type
Print-music
Acquisition Date
2004-07-05
Library Collection Publisher / Label
Unpublished, printed by CMC / Inédit, imprimé par le CMC
Preview
Additional Information
Single movement
flute/piccolo clarinet/bass clarinet trumpet percussion (1) piano violin violoncello
Master Location
Toronto
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Physical Description
Found 1 record(s)
Available Actions
Extent of Item
1 score ((63) p.); 28 cm.
Instrumentation
Found 7 record(s)
Available Actions
Set No.
Category
Instrument
Number
31490
Woodwinds
Flute
1
31490
Woodwinds
Clarinet
1
31490
Brass
Trumpet
1
31490
Keyboard
Piano
1
31490
Percussion
Percussion
1
31490
Strings, bowed
Violin
1
31490
Strings, bowed
Violoncello
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
Premiere
10/31/1996 Late Music Festival, York, U.K.; Ensemble: Black Hair, Roger Marsh, conductor
A fractured narrative is at the heart of Cut, composed in 1996 for Roger Marsh and his group, Black Hair. Though the piece is continuous, one senses that it consists of encapsulations of nearly a dozen individual pieces. These are characterized by, among other things, predetermined timbral combinations and surface affect. However, there are connections beneath the surface including the recontextualization of music from one section within tutti material in others. There is a continual regeneration effected by this procedure, and Cut concludes with an implication that it might be subject to further stages in an ongoing process.
Un récit fracturé est au coeur de Cut, composé en 1996 pour Roger Marsh et son ensemble, Black Hair. Bien que l’oeuvre soit jouée sans interruption, on sent qu’elle consiste d’ « encapsulations » de près d’une douzaine de pièces distinctes. Ces dernières se caractérisent, entre autres choses, par des combinaisons de timbres et un climat de surface prédéterminés. Il existe cependant des liens sous la surface, y compris par la recontextualisation de la musique d’une section, reprise dans d’autres sections dans les tutti. Une régénération constante découle de ce procédé, et la conclusion de Cut suggère que l’oeuvre pourrait être soumise à des développements supplémentaires au cours d’un processus qui se poursuivrait.
Found 5 record(s)
Available Actions
CMC Location
Barcode
Copy Status
Circulation Status
Number of Copies
Calgary
01CA52765
In Circulation
-
1
Vancouver
01VA52765
In Circulation
-
1
Sackville
01SA52765
In Circulation
-
1
Montréal
01MO52765
In Circulation
-
1
Toronto
01TO52765
In Circulation
-
1
SydneyEnterprise v4.4.0.28 - Canadian Music Centre | SydneyEnterprise (Final)