Canadian Music Centre | SydneyEnterprise (Final)
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lowercase for saxophone quartet, audio signal processing and 8-channel audio diffusion
RSN:
69716
|
Composition Date:
2014
|
Revision Date:
N/A
|
Duration:
00:18:00
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Library Record
Programme Notes
Cataloguing Information
Call Number
MI 9210 R128low
Genre
Chamber Ensemble (2-9 Performers) with Electronics / Multi-Media, Woodwinds
Material Type
Print-music
Acquisition Date
2015-06-08
Library Collection Publisher / Label
Unpublished, printed by CMC / Inédit, imprimé par le CMC
Preview
Additional Information
Commissioned by: Quasar quatuor de saxophones
Master Location
Toronto
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Physical Description
Found 2 record(s)
Available Actions
Extent of Item
1 score (65 p.);
4 parts ([63] p.);
Instrumentation
Found 2 record(s)
Available Actions
Set No.
Category
Instrument
Number
49491
Woodwinds
Saxophone
4
49491
Electronic
Computer / Live Electronics
1
Divided
No
Solo
No
Divided
No
Solo
No
Premiere
26 March 2014, MMR/CIRMMT, Shulich School of Music McGill University, Montréal, Québec. Quasar quatuor de saxophones: Marie-Chantal Leclair, soprano; Mathieu Leclair, alto; André Leroux, tenor; Jean-Marc Bouchard, baritone.
lowercase explores the “other” of the saxophone, the “non-pure” and extended sonic possibilities of the instrument. The audio processing and video processing components of the work explore a similar distortion of the quotidian and of the expected. Throughout the process of writing lowercase, I felt the need to bend, to dirty, to clutter the sound of the instruments, to place them in an unfamiliar context, through the writing for the instruments themselves, and more so through electronic intervention, smearing the essence of the saxophone sound and image, extending it and altering it towards some “other.”This “other” extends to the performance practice of the concert stage and the importance of image and physical placement and movement in space for our apprehension and appreciation of visual and sonic events. In order to explore these relationships, the character of sonic space, and the interrelationship between image and sound, the saxophone quartet is mobile in the performance space, moving to and performing from a number of pre-designated stations in the performance area, reconfiguring their sonic relationship to each other and with the space in which they are sounding. Physical movement of the instrumentalists is mirrored by spatial animation of the transformed quartet sounds via multichannel audio transformations and diffusion. Transformations of live visual animation creates an additional contrapuntal component in the performance space and propels the focus towards the heart of the piece: the liminal edge between purity and degradation.
SydneyEnterprise v4.4.0.28 - Canadian Music Centre | SydneyEnterprise (Final)