Canadian Music Centre | SydneyEnterprise (Final)
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The finest signatures of the sabre for baritone saxophone, contrabassoon, trumpet in Bb, tuba, percussion, violin
RSN:
66360
|
Composition Date:
1993
|
Revision Date:
N/A
|
Duration:
00:13:00
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Library Record
Programme Notes
Cataloguing Information
Call Number
MI 8673 A161fi
Genre
Mixed Chamber Ensembles (1 to 9 Performers), Sextets, Woodwind(s) / Brass / Percussion, Bowed String(s)
Material Type
Print-music
Acquisition Date
2012-05-01
Library Collection Publisher / Label
Unpublished, printed by CMC / Inédit, imprimé par le CMC
Master Location
Toronto
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Physical Description
Found 1 record(s)
Available Actions
Extent of Item
1 score (28 p.) ;
Instrumentation
Found 6 record(s)
Available Actions
Set No.
Category
Instrument
Number
40840
Woodwinds
Saxophone
1
40840
Woodwinds
Bassoon
1
40840
Brass
Trumpet
1
40840
Brass
Tuba
1
40840
Percussion
Percussion
1
40840
Strings, bowed
Violin
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
SKILA, AVERKIE (17th and early 18th century) - of Coptic descent - a fencing instructor, one of the most renowned sabre experts in Constantinople at the end of the 17th century. Skila was hired as a servant by the Constantinople diplomat Avram Brankovich. He practiced his sabre skills with his master in total darkness, tied to his opponent by a long leather belt. Averkie Skila spent decades painstakingly collecting the best sabre strokes from the battlefields of Asia Minor; he studied them, tested them on living flesh, and finally described them in a text filled with diagrams and sketches showing the various strokes of this ancient art. He marked each of these movements with a different sign of the zodiac, and each star of these constellations represented a single death. It is known that by 1689 Skila had already mastered Aquarius, Sagittarius, and Taurus and was in the constellation of Aries. All he needed was practical confirmation of the final sabre stroke and this constellation too would be his. The stroke was a snake-like incision that left behind a terrible sinuous, gaping slash; like a mouth it released voices from the wound sounding like the cry of liberated blood. Somewhere on an Austro-Turkish battlefield in Walachia in 1689, Skila, as he himself notes, tested this, his final stroke, and subsequently retired to Venice, where the experiences of this swordsman and sabre master were published in a book entitled The Finest Signatures of the Sabre. Included in the book were folios with diagrams of fencing strokes, portraying Averkie Skila as standing amid the stars or, more precisely, in a cage or net formed by his .sabre moves. To the uninitiated he seemed to be enclosed in a beautiful, transparent pavilion that he had drawn and constructed in the air around him with a whistle of the sabre and a cut of the blade. (extracts from the entry on Skila, Averkie from EMDictionary of the KhazarsCLOSE_EM by Milorad Pavic) This piece is dedicated to Rudolf Komorous.
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