Canadian Music Centre | SydneyEnterprise (Final)
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Two Wölfli Sketches horror vacui / musicum umbrarum
RSN:
67586
|
Composition Date:
2012
|
Revision Date:
N/A
|
Duration:
00:15:00
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Library Record
Programme Notes
Cataloguing Information
Call Number
MI 3112 G585tw
Genre
Solo Viola
Material Type
Print-music
Acquisition Date
2013-05-10
Library Collection Publisher / Label
Unpublished, printed by CMC / Inédit, imprimé par le CMC
Preview
Additional Information
1. horror vacui 2. musicum umbrarum Commissioned by Pemi Paull.
Master Location
Toronto
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Physical Description
Found 1 record(s)
Available Actions
Extent of Item
1 score (10 p.) ;
Instrumentation
Found 1 record(s)
Available Actions
Set No.
Category
Instrument
Number
44479
Strings, bowed
Viola
1
Divided
No
Solo
No
This work draws inspiration from the distinctive and unsettling work of Swiss “artist” Adolf Wölfli (1864 –1930), who, due to an abusive childhood and a subsequent succession of brutal transgressions, spent the majority of his adult life in psychiatric care. As part of his therapy, Wölfli was urged to draw, producing images evocative of his mental state: simultaneously simplistic (due to his lack of formal art training) and complex (due to the intricacy of detail and intensity emanated from these pencil drawings). Wölfli’s works became extremely popular in artistic circles, as he became one of the first artists to be associated with the Art Brut or outsider art movement.horror vacui – (“fear of empty space”): Wölfli believed that any empty canvas might allow bad spirits to enter the human realm, thus inciting Wölfli to fill the entire surface of every sketch in detail. Horror vacui can be found in the artwork of many mentally unstable and/or inmates of psychiatric hospitals, perhaps due to the therapeutic and mandalaic (e.g., repeatedly drawing certain shapes in a manner to soothe the patient) aspects of drawing, as the process becomes as or more important than the artwork itself.duration: c. 7’30”musicum umbrarum – (“music of shadows”): within many of his sketches, Wölfli “composed” melodies, incorporating an idiosyncratic notation of six-line staves, peculiar clefs, barlines and key signatures, as well as illegible collections of unbeamed eighth and sixteenth-note collections. This movement incorporates fragments from the 11th sketch (S. 837) of Wölfli’s “Geographical and Algebraical Notebooks” (1912-1916). These melodic fragments are manipulated to reveal various “shadows” implied in the title, using procedures similar to altering the position and intensity of a light source illuminating an object – although the object does not change, its shadow varies considerably, occasionally beyond recognition of the original source. duration: c. 7’30”This piece is dedicated with much respect and admiration to my dear friend Pemi Paull, whose wonderful soul made it possible for me to go into the darkest places in creating this work and still find my way back. His ability and incredible musicality allowed me to take many chances in this work, and I thank him so much for this opportunity.In addition, this project would not have been possible without the generosity of the Canada Council for the Arts, who funded this project. Thank you very much for your support in this wonderful endeavor.
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