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
and wondrous strange snow for solo violin, strings, piano, and percussion
RSN:
70854
|
Composition Date:
2014
|
Revision Date:
N/A
|
Duration:
00:25:00
Share this record
Email
Library Record
Programme Notes
Cataloguing Information
Call Number
MI 1701 B1687wo
Genre
Orchestra / Large Ensembles, String Orchestra With Multiple Soloists, Misc. Soloist
Material Type
Print-music
Acquisition Date
2016-03-22
Library Collection Publisher / Label
Unpublished, printed by CMC / Inédit, imprimé par le CMC
Preview
Additional Information
Commissioned by SONAR New Music Ensemble
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
1 score (111 p. ) ;
Instrumentation
Daniels Instrumentation
Soloists: Percussion, Piano, Violin - str
Found 4 record(s)
Available Actions
Set No.
Category
Instrument
Number
50739
Larger ensemble
String orchestra
1
50739
Strings, bowed
Violin
1
50739
Percussion
Other percussion
1
50739
Keyboard
Piano
1
Divided
No
Solo
No
Divided
No
Solo
No
Divided
No
Solo
No
Divided
No
Solo
No
Premiere
30 January 2015, Baltimore Theatre Project, Baltimore, MD, U.S.A. SONAR New Music Ensemble, Colin Sorgi; violin, Robert A. Baker; conductor
and wondrous strange snow
for solo violin, strings, piano and percussion (2014) was commissioned by violinist Colin Sorgi and SONAR New Music Ensemble as part of a long-term project of SONAR commissions intended to parallel Vivaldi's Four Seasons. In this case, the point of departure was Vivaldi's Winter.The instrumentation and, at times, its treatment, reflects that of typical Baroque concertos; solo instrument with strings and a keyboard to provide continuo (in this case piano replacing harpsichord). However, this reference is questioned by the inclusion of percussion, bringing the ensemble forward in time, so to speak, into a more contemporary sound-world. In addition to the instrumentation, fluctuations occur (particularly in the second main movement, Icefield) between the full ensemble and a chamber group of solo violin, cello, piano and percussion, furthering the Baroque concerto reference by reflecting the alternation between tutti (or ripieno) and continuo groups. As such, there is at the heart of this piece an undeniably intertextual quality; a mixture between characteristics of the Baroque and 21st Century is ever-present.At times, Winter's famous passages of short pulsating notes that spread across the strings with such beautiful dissonant suspensions and resolutions, are assimilated into my own harmonic language and appear on several occasions. Augmented by extended string techniques as well as micro-tonal melodic language, the Vivaldi material is integrated into a musical whole that is, I hope, explicitly contemporary, yet implicitly historical. This type of temporal duality is of great interest to me and is often present in much of my work. But its significance to this piece is perhaps best represented in the source of its title, an excerpt from Shakespeare's A Midsummer Night's Dream. Alluding to both the reference to winter, cold, and ice, and to the intertextual Baroque-Contemporary nature, here is a fuller excerpt: "Merry and tragical! tedious and brief! / That is, hot ice and wondrous strange snow. / How shall we find the concord of this discord?" (Act V, Scene 1, lines 58-60)
SydneyEnterprise v4.4.0.28 - Canadian Music Centre | SydneyEnterprise (Final)