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Triptych flute and piano
RSN:
52766
|
Composition Date:
1994
|
Revision Date:
N/A
|
Duration:
Not Provided
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Library Record
Programme Notes
Copies
Cataloguing Information
Call Number
MI 5211 C957tr
Genre
Flute / Piccolo and Keyboard
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Unpublished, printed by CMC / Inédit, imprimé par le CMC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
Three movements (I, II, III)
Flute and piano
Master Location
Toronto
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Physical Description
Found 1 record(s)
Available Actions
Extent of Item
1 score ([4], 32 p.) ;
Instrumentation
Found 2 record(s)
Available Actions
Set No.
Category
Instrument
Number
31491
Woodwinds
Flute
1
31491
Keyboard
Piano
1
Divided
No
Solo
No
Divided
No
Solo
No
Premiere
09/27/1995 ALEA III International Composers' Competition Boston, U.S.A.; Jean DeMart flute, Katheryn Rosenbach piano
Triptych was composed between October 1993 and April 1994, and was put through an extensive process of revision in the late summer of that year. The title is a reference to the form that many paintings have taken throughout the history of western art, from the Middle Ages up to modern times with the likes of Andy Warhol and Francis Bacon. In this piece, I am interested in using a similar approach to the sectionalization of a fairly long expanse of music - 3 sections or "panels" of 5 minutes duration each. They amount ot three views of the same musical object. This is an ensemble duet that embraces difference and equality. Two instruments whose characters are fundamentally opposed are locked together in a search for themselves and for each other. Technically, is there any common ground between the two? Can compromise be reached without a loss of self? How can the combination of percussively excited wires and a refined stream of air come together in any manner that is more than superficially satisfying?
Composé entre octobre 1993 et avril 1994, Triptych a subi une révision majeure à la fin de l’été de la même année. Le titre fait référence à la forme qu’on adoptée de nombreux tableaux à travers l’histoire de l’art occidental, du moyen âge jusqu’aux temps modernes, notamment chez des artistes tels qu’Andy Warhol et Francis Bacon. Dans cette oeuvre, je cherche à aborder de la même manière le sectionnement d’une entité musicale assez substantielle – en trois sections ou « panneaux » de cinq minutes chacun, représentant trois visions du même objet musical. Ce duo embrasse la différence et l’égalité. Deux instruments de caractères fondamentalement opposés sont imbriqués dans la recherche de soi-même et dans celle de l’autre. Du point de vue technique, ont-ils quelque chose en commun ? Peuvent-ils en venir à un compromis sans perdre leur identité propre ? Comment des fils activés par la percussion et une colonne d’air raffinée peuvent-ils s’unir de manière à produire un résultat qui soit plus que superficiellement satisfaisant ?
Found 1 record(s)
Available Actions
CMC Location
Barcode
Copy Status
Circulation Status
Number of Copies
Toronto
01TO52766
In Circulation
-
1
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