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Asylum for violin, violoncello, and piano
RSN:
64514
|
Composition Date:
2010
|
Revision Date:
N/A
|
Duration:
00:10:00
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Library Record
Programme Notes
Copies
Cataloguing Information
Call Number
MI 3233 M865asy
Genre
Piano Trio (Violin / Cello / Keyboard)
Material Type
Print-music
Acquisition Date
2011-05-26
Library Collection Publisher / Label
Unpublished, printed by CMC / Inédit, imprimé par le CMC
Preview
Additional Information
violin violoncello piano
Master Location
Toronto
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Physical Description
Found 2 record(s)
Available Actions
Extent of Item
2 parts ([12] p.) ;
1 score (18 p.) ;
Instrumentation
Found 3 record(s)
Available Actions
Set No.
Category
Instrument
Number
35661
Strings, bowed
Violin
1
35661
Strings, bowed
Violoncello
1
35661
Keyboard
Piano
1
Divided
No
Solo
No
Divided
No
Solo
No
Divided
No
Solo
No
Premiere
06/08/2010, DF Cook Recital Hall, St. John's, NL; Tuckamore Chamber Music Festival; Nancy Dahn, violin; Vernon Regehr, violoncello; Timothy Steeves, piano.
See Also
64187, Asylum, AR2837, Jocelyn Morlock, 00:15:51
Asylum, for violin, violoncello, and piano Co-commissioned by the CBC and the Tuckamore Chamber Music Festival, for the tenth anniversary of the Festival, and the 200th anniversary of Robert Schumann’s birth. Premiered August 6, 2010 at the Tuckamore Chamber Music Festival by Nancy Dahn, violin; Vernon Regehr, violoncello, and Timothy Steeves, piano.
General Notes on Asylum and Schumann: The first four piano notes of Asylum are a very slow-motion quote from Schumann’s Mondnacht (the fifth song in his Liederkreis, Op. 39.) The mood of the opening section (mm. 1 - 33) is reminiscent of the ethereal mood of Mondnacht, though there is a general descent into something more disturbed. The next two sections of the piece (mm. 34 - 56, mm. 57 - 96) both start similarly; the first of these again dissolves into a mood of disquiet but the second time there is a more expansive and calmer transition. (The harmonic underpinning of this second transition is another Mondnacht quote; it is based on the harmonies of the last line of the song als flo¨ge sie nach Haus where there is a sort of ambiguous IV-I cadence.) The end of the piece has a relatively direct quote of the first vocal line of the song at m. 104 in the violin. M. 116 to the end combines fragments of the melodic line of the words als flo¨ge and that of the first line of text (Es war, als ha¨tt' der Himmel) so as to seem like a fleeting recollection of the past. Asylum is inspired by Schumann in several ways - I am very interested in the emotional landscapes of his music, and his dual characters Florestan and Eusebius. This piece tends toward the introverted but has various outbursts, before crawling back into its shell. (A good example of this "outburst" would be mm. 30-33.) The other source of inspiration is the combination of ecstasy and horror experienced by Schumann himself, and that whole range of emotions, often veering from one to another. The name Asylum refers to both the asylum that Schumann found himself in at the end of his life (I imagine him having moments of calm where he recollects his life and hears his music), and perhaps more significantly to the idea of an asylum as a place of refuge, which I imagine and hope that music could be for Schumann, and which it certainly is for me.
Found 12 record(s)
1
2
Available Actions
CMC Location
Barcode
Copy Status
Circulation Status
Number of Copies
Toronto
03TO64514
In Circulation
-
1
Calgary
03CA64514
In Circulation
-
1
Toronto
02TO64514
In Circulation
-
1
Vancouver
02VA64514
In Circulation
-
1
Vancouver
01VA64514
In Circulation
Available for Loan
1
Montréal
02MO64514
In Circulation
-
1
Vancouver
03VA64514
In Circulation
-
1
Calgary
02CA64514
In Circulation
-
1
Montréal
03MO64514
In Circulation
-
1
Montréal
01MO64514
In Circulation
-
1
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