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Elegy of others for chamber wind ensemble
RSN:
62980
|
Composition Date:
2009
|
Revision Date:
N/A
|
Duration:
Not Provided
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Library Record
Programme Notes
Copies
Cataloguing Information
Call Number
MI 1800 G38el
Genre
Concert Band / Large Wind Ensembles
Material Type
Print-music
Acquisition Date
2010-07-12
Library Collection Publisher / Label
Unpublished, printed by CMC / Inédit, imprimé par le CMC
Preview
Additional Information
2 flutes, Bb clar, alto sax, bari sax, horn, C trumpet, 2 tromb, tuba, electric guitar, electric bass, piano, drum set. Commissioned by: Orkest de Ereprijs
Master Location
Toronto
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Physical Description
Found 2 record(s)
Available Actions
Extent of Item
14 parts ([54] p.) ;
1 score (iv, 35 p.) ; 39 cm.
Instrumentation
Daniels Instrumentation
2 0 1 0, 2sax - 1 1 2 1 - dmkt - pf - guit
Found 12 record(s)
Available Actions
Set No.
Category
Instrument
Number
34201
Woodwinds
Flute
2
34201
Woodwinds
Clarinet
1
34201
Woodwinds
Saxophone
2
34201
Brass
Horn
1
34201
Brass
Trumpet
1
34201
Brass
Trombone
2
34201
Brass
Tuba
1
34201
Strings, plucked
Guitar
1
34201
Strings, bowed
Double bass
1
34201
Keyboard
Piano
1
34201
Percussion
Drums
1
42478
Larger ensemble
Concert Band/Wind Ensemble
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
14/02/2010 Podium Gigant Apeldoorn, the Netherlands Live event, Orkest de Ereprijs Conductor: Wim Boerman
Much of my recent work deals with the issue of reappropriation. Where do we get our ideas? What do we owe, if anything, to our sources of inspiration? Historically, composers have stolen ideas from each other regularly, reworking these into their music and taking all the credit (and the money, if they could). The invention of copyright was the first attempt at giving credit to the originators of ideas, but this has evolved over time into a corporate-controlled system of property that promotes the fiction that new ideas somehow spontaneously appear out of nothingness.
Composers have always taken each others’ ideas, and if they didn’t, there would be no composing. But now the big music companies would want us to believe that this is somehow wrong. It is, certainly, wrong to profit from the work of others without making any contribution oneself, but there are many uses of existing music that do make new, meaningful contributions. For this reason, I’ve taken an interest in quotation, collage, and related techniques. It’s a way to pay homage to the music that has influenced me while at the same time exposing the false idea that creativity comes out of nothingness. So here I am, cards on the table, showing everyone the music I was thinking of when working on this piece—by quoting that music.
Thus the title Elegy of Others. I wanted to write a piece that was reflective and sombre, and I wanted to make it a collage of the work of others. This was a particular challenge, because I have found collage better suited to fast, upbeat music than it is to the slow and sombre; quotations tend to lose their character when the tempo is slow, and phrases made up of long quotes do not cohere very well. For this reason, I had to approach this piece differently than in my previous work, transforming the material in more extreme ways for the sake of musical expression. In Elegy of Others, therefore, the quotations are not always immediately recognizable, though they do come to the surface periodically. Nevertheless, almost every note in Elegy of Others is quoted, with few exceptions.
Found 4 record(s)
Available Actions
CMC Location
Barcode
Copy Status
Circulation Status
Number of Copies
Calgary
01CA62980
In Circulation
-
1
Vancouver
01VA62980
Being Labeled
-
1
Toronto
01TO62980
In Circulation
-
1
Montréal
01MO62980
Lost or Missing
Lost or Missing
1
SydneyEnterprise v4.4.0.28 - Canadian Music Centre | SydneyEnterprise (Final)