[...] which constantly generates a pulviscular cloud [...] (2019) for chamber orchestra. скачать в хорошем качестве

[...] which constantly generates a pulviscular cloud [...] (2019) for chamber orchestra.

'[…] which constantly generates a pulviscular cloud [...]' (2019) is a 20-minute timecode-supported polytemporal composition for a spatially configured orchestra of 42 players. It is dedicated to my dear friends, Stephen Davismoon and Lauryna Sableviciute. The term ‘pulviscular cloud’, in this case, transformed in my imagination into a pulviscular cloud of sound — of sonic dust — full of particles that are in a state of constant motion and flux, resonated with my concept of the sonic flux that coalesces during the performance of '[…] which constantly generates a pulviscular cloud [...]' into forms that constitute the structure and content of this music. At times, the nature and relationship of sounds elicited through the performance of '[…] which constantly generates a pulviscular cloud [...]' may be deemed to verge on the extreme, overwhelming the ear with too much information across uncomfortably long periods. This condition is intentional: during phases of maximum polyphonic density where all instrumental parts are performed at simultaneously different speeds in polytemporal performance, the numerous layers of independent, sometimes heterogeneous materials compete with one another for dominance, generating a sustained, intricate, complex and frenzied state throughout several phases of the composition that may prove perceptually challenging to disentangle. To prevent a descent into sonic chaos and establish dramatic impact between materials, extremes of polytemporal density are contrasted with less dense and less chaotic sounding materials. This pattern of establishing phases of extreme polyphonic and temporal density followed by phases of comparatively sparse material stratification marks the cyclic journey — the narrative — obsessively undertaken several times within the piece’s 20-minute duration, between perceptual obfuscation and perceptual clarity, that constitutes perhaps the most significant structural feature of the piece. Underpinning and driving this narrative is an often manic, relentless forward momentum that like a moth inexorably drawn to a flame, burns itself out in the composition’s final moments where all sounds return to the silence from which they emerged. Unusual in temporally complex music of this type, narrative and structure are maintained without a conductor. The players themselves are responsible for the unfolding of the piece using only timecode represented as minutes and seconds in their parts read in conjunction with loosely synchronised individual mobile phone stopwatches. Together, timecode and stopwatches provide the players with a temporal framework for coordination and structural organisation that no matter how simultaneously different the speeds and character of their materials, ensures dynamic, self-similar variant outcomes of the piece. Additionally, the contrast between the independent tempi of the players and their heterogeneous materials is further emphasised by the spatialization of the orchestra into six ensemble groups located around the performance area. Due to the use of timecode and stopwatches, these groups can be imaginatively positioned without any need to consider a line of sight with a conductor or each other. Each group comprises of different instrumental arrays with every player using independent simultaneous tempi and where each group is a colouristically distinct ensemble with no exact temporal relationship to any other. The culmination of spatialization, polytemporal performance and heterogeneous materials make this a music of extremes, of hyper-activity, hyper-density, quicksilver colouristic fluctuations, of perceptually complex sound combinations articulated through demanding, virtuosic instrumental part-writing that requires great technical facility, expressive insight and emotional stamina from performers when mediating its notation and instantiating its sound. Here, performance outcomes are a gamble — a balance — between an aspiration to control outcomes through specific notation and how players mediate notation to produce what is actually heard. It is the uncertainty around how this balance will manifest as sound in performance and the sonic flux these particular uncertainties produce in self-similar, near-determinate variant outcomes that excites me. Published by Composers Edition: https://www.marc-yeats.com/which-cons... Timecode-supported polytemporal music explained:    • Timecode-Supported Polytemporal Music Expl...   Performers: Group 1: Gleb Kanesavich (clarinet in Eb) Christian Smith (percussion) Lisa Cella (flute), Tristan McKay (piano) Jeremy Bass (guitar), Mark Fewer (violin) and James Burch (cello); Group 2/6: Zero Theorem string quartet, Bristol Ensemble Players including Roger Heaton (clarinets) and Chris Redgate (oboe/cor anglais) Group 3: the Karski Quartet and Viridis Quartets, Group 4: (flutes) Chamber Cartel Group 5: Meridian Brass, Dirk Amrein (trombones)