Canadian Music Centre | SydneyEnterprise (Final)
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okutama for flute, violin and piano
RSN:
69849
|
Composition Date:
2011
|
Revision Date:
N/A
|
Duration:
00:19:00
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Library Record
Programme Notes
Cataloguing Information
Call Number
MI 8315 J321oku
Genre
Mixed Trios, Woodwind / Keyboard / Bowed String
Material Type
Print-music
Acquisition Date
2015-06-17
Library Collection Publisher / Label
Unpublished, printed by CMC / Inédit, imprimé par le CMC
Preview
Additional Information
2 movements: i. questing ii. reflecting
Master Location
Toronto
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Physical Description
Found 2 record(s)
Available Actions
Extent of Item
1 score (35 p.);
2 parts ([18] p.);
Instrumentation
Found 3 record(s)
Available Actions
Set No.
Category
Instrument
Number
49634
Woodwinds
Flute
1
49634
Strings, bowed
Violin
1
49634
Keyboard
Piano
1
Divided
No
Solo
No
Divided
No
Solo
No
Divided
No
Solo
No
Premiere
8 March 2011, Nakameguro GT Plaza Hall, Tokyo, Japan. mmm... ensemble: Reiko Manabe, flute; Shungo Mise, violin; Kaori Ohsuga, piano.
I first went hiking in Okutama (a national park at the rural limits of Tokyo city) in 2007; it is a beautiful gem of an location, the only place that approaches wilderness within easy reach of the metropolis. This piece was written in late 2010 as the culmination of a years- long exploration of new ways to think about serialism in the 21st century. Seeking to draw on memory, maths, and mountains, I prepared a very large serial matrix based on the heights of all the mountains of the Okutama region and derived my pitch material from that matrix. Changes in density and speed were also taken from mathematical relationships in the mountains’ heights.Like poetic forms or indeed classical forms like sonatas or fugues, the matrices guided and shaped many aspects of the music, but there was plenty of personal choice, emotion, and memory invested into the two sections of the piece. The first, called ‘questing’, is about being within the mountains, the smallness and at the same time excitement I feel when I can escape the city and be surrounded by nature and stone. It is strictly tied to the dictates of maths and matrices; they are as unconcerned with human emotion as are the mountains. Part two, ‘reflecting’, is about the memory, the romanticisation, of the mountains and of the experience of nature. Accordingly, it is freer, more coherent, more like a story and less like an experience—its material comes from the matrix, but in a less prescribed manner. Together, the quest and its recollection, the experience and its memory, form an inseparable whole—the one cannot exist without the other.
SydneyEnterprise v4.4.0.28 - Canadian Music Centre | SydneyEnterprise (Final)