Canadian Music Centre | SydneyEnterprise (Final)
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Lush for 11 players and electronics
RSN:
71063
|
Composition Date:
2015
|
Revision Date:
N/A
|
Duration:
00:15:00
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Library Record
Programme Notes
Cataloguing Information
Call Number
MI 9371 B869lus
Genre
Works with Electronics / Multi-Media, Large Ensemble (10-20 Performers), Woodwind(s) / Brass / Percussion, Keyboard(s)
Material Type
Print-music
Acquisition Date
2016-06-07
Library Collection Publisher / Label
Unpublished, printed by CMC / Inédit, imprimé par le CMC
Preview
Additional Information
Commissioned by the Wet Ink Ensemble
Master Location
Toronto
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Physical Description
Found 1 record(s)
Available Actions
Extent of Item
1 score landscape score (33 p. ) ; 23 x 30 cm
Instrumentation
Found 12 record(s)
Available Actions
Set No.
Category
Instrument
Number
50975
Woodwinds
Flute
1
50975
Woodwinds
Clarinet
1
50975
Brass
Horn
1
50975
Brass
Trumpet
1
50975
Brass
Tuba
1
50975
Keyboard
Piano
1
50975
Percussion
Other percussion
1
50975
Electronic
Computer / Live Electronics
1
50975
Strings, bowed
Violin
1
50975
Strings, bowed
Viola
1
50975
Strings, bowed
Violoncello
1
50975
Strings, bowed
Double bass
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
Divided
No
Solo
No
Divided
No
Solo
No
Divided
No
Solo
No
Divided
No
Solo
No
Divided
No
Solo
No
Premiere
30 April 2016, St. Peter's Church, Chelsea, New York, New York, USA Wet Ink Ensemble, Alex Mincek; cond.
Lush
was written in the Winter of 2016 for Wet Ink Ensemble. This piece was conceived as a hybrid between concert music and orchestral film music. As a composer of concert music, the attempt to draw out new ideas from mainstream film music may seem unusual, however, as I began exploring the possibilities provided by commercial sound libraries, sampler instruments, and synths, I was drawn to the idea of retuning these electronic instruments to create an electroacoustic part that fills out and expands the chamber ensemble into a bigger, richer sound.The majority, if not entirety, of new film scores are produced using samples along with the occasional sprinkling in of a few live performers to heighten a sense of realism. By creating music in this way, the ideal realization of this score may be as a recording, where the precise level between live and sampler instruments can be completely controlled.A second impetus for using an electronic part made from sampler instruments is to facilitate the performance of precise microtones through pitch matching. This method has allowed me include unusual harmonies and chord changes since the pitches of the live instrumental parts are almost always doubled in the electronics.
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