Program Notes narcissus

Program Notes narcissus

Program Notes for ‘Narcissus auf Bali’ ‘Narcissus auf Bali’ was originally a ballet commission (1997) from the Vancouver choreographer Lee Su-Feh of B...

41KB Sizes 0 Downloads 6 Views

Recommend Documents

Program notes
magnificent Lake Wörthersee. The enchanting backdrop may have provided inspiration for the rapid completion of the work:

The Death of Narcissus – Teacher's Notes
The Death of Narcissus – Teacher's Notes. •. Ovid published his Metamorphoses in the early 1st century AD. It was a

Ray Chen Program Notes
Oct 6, 2017 - intensity characterizes this sonata, the likes of which can only be attributed to Beethoven, the mastermin

program notes - Diane Wittry
Overture to “Candide” (1956). Leonard Bernstein □ 1918-1990. Lillian Hellman conceived a theater piece based on Vo

program notes - Diane Wittry
Johann Strauss, Jr. (1825-1899), Baron. Eisenstein has been sentenced to jail for five days for some minor offense, but

Program Notes - [email protected]
tunes as “Swing Low, Sweet Chariot” and “Go Down, Moses” into ethereal soundscapes. This program is underwritten

program notes - Quad City Symphony
was a long climb from lowly song-plugger to major composer. Certainly he achieved this goal by the end of his short life

Program Notes - Gloriae Dei Cantores
early age, Mendelssohn was conversant in matters of culture and .... Festival to come and conduct as well as write a new

Program Notes - Arizona Repertory Singers
director of the Mormon Tabernacle Choir in addition to being a composer and arranger. Choirs and notables such as Renée

program notes - Music Before 1800
vivid and theatrical effects with minimal means, much as his contemporary, the artist Canaletto, was doing on canvas wit

Program Notes for ‘Narcissus auf Bali’ ‘Narcissus auf Bali’ was originally a ballet commission (1997) from the Vancouver choreographer Lee Su-Feh of Battery Opera (The work went on to win the Choregraphiques Internationales of Paris in 1999) and was generously supported by Canada Council and the BC Cultural Fund. The title is a post-modern twist on the classical, grandiose names ‘Ariadne auf Naxos’ or ‘Iphigenia auf Tauris’. Only here, the work roughly follows the narrative of the Greek myth ‘Narcissus and Echo’, deep into the jungles of Bali. In 2008, I rewrote/remixed the piece as a Double Concerto for Vibes, Marimba and CPU, the oriental timbres of the vibes and marimba complimenting the sampled gamelan orchestral sounds throughout the piece. The piece has many layers that are constantly referencing one another as well as articulating the structure: 1. From the Greek myth, the Greek concept of Air, Fire, Earth, Water becomes the natural aural background for the piece. 2. The myths’ allegory of the transmutation from living things to the inanimate which is further stretched from natures’ sublime harmony evolving into, or in conflict with, urban, industrial noise. This transmutation also characterizes the music morphing into various styles. 3. The choreographer is reading the myth in Chinese. 4. The works’ Gamelan vortex increasingly appropriates all things oriental (Godzilla, Tibetan monks, Martial-Art movies, Chinese fish markets, Peking Opera, Noh Drama etc.) which are then pitted against all things western and/or pop. 5. Paralleling Narcissus and Echo’s relationship, there is a modern day picnic in the woods involving a self-absorbed male and his overly compliant, robotic girlfriend. Formally, the music also steals the concept of ‘Echo’ in resembling a doublereverse palindrome (no, not the high dive!). The pitch and harmonic structures are based on the choreographers’ favorite Balinese ditty rendered here in Bb (the tonic), that was further transformed into a 24 note pitch-set (P., I., RI.) The works’ verticality is subdivided into 49 sections. each section based on a ‘contrary scale’ (higher then lower from the tonic) moving away to the fifth then returning to the tonic, then to the octave then returning again to the tonic. The tempo of each section is based on the movements’ sample transposition from the tonic, while the lengths of the sections are constantly expanding and contracting (accordionlike) from 2 measures to 96 measures long (2,3,4,6,8,12 etc). Further underlying the spirit of Echo, the surface of the score is laced with reverse echoes and exact, dieing (yet transfiguring) repetitions.