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ONE FLAT THING, REPRODUCED [2010]

 
oboe, violin & percussion [ 11' ]

commissioned by the ELISION Ensemble

One Flat Thing, reproduced [ELISION Ensemble] by Timothy McCormack

 

 

PERFORMANCE HISTORY

12/20/2014 - ensemble mosaik. Halle Tanzbühne. Berlin, Germany

3/18/2014 - ELISION. Carriageworks. Sydney, Australia

5/16/2012 - ELISION. Melba Hall. Melbourne University. Australia

5/11/2012 - ELISION. Crossbows Festival. Brisbane, Australia

12/6/2010 - ELISION. Kings Place. London, England

11/23/2010 - ELISIONHuddersfield Contemporary Music Festival. England

 

FURTHER READING

Instrumental Mechanism and Physicality as Compositional Resources [thesis for the MPhil degree at the University of Huddersfield] [September, 2010]

Forcing the Catastrophe: An Interview with Timothy McCormack Interview by Robert Dahm on Sound is Grammar [July, 2010] [Although this piece is not explicitly discussed in this interview, it is the piece which I mention more than once as currently being worked on.]

 

PROGRAM NOTE

One Flat Thing, reproduced attempts to create a uniform, monolithic, static sound world from frenetic, multi-developmental, highly-defined pieces of gestrual odds-and-ends. The three instruments, constantly locking and unlocking each other from a larger array of triggers and trajectories, act as their own organizational agent. They construct a latticed network from actual events within the piece itself, and thus exist at a unique intersection between form and content, material and structure, and sound and sign. The music is, at potentially all times, all of these - all sound events carry the potential to be structural triggers; all gestures create the possibility to be perceived as significant beyond their own significance. The piece is a spider's web whose design is both its own aesthetic and its own structure. There is no difference between these two things.

One Flat Thing, reproduced owes a particularly large debt to William Forsythe and the Forsythe Company, whose projects One Flat Thing, reproduced and Synchronous Objects made this piece conceptually possible. If this piece is actually possible in any real sense of the word, it is entirely because of the super-human enthusiasm and abilities of Graeme Jennings, Peter NEville, Peter Veale and Daryl Buckley of the ELISION Ensemble.

 

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