Duo-Charged
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Soundcloud Recording
Fiona Ziegler-violin and David Miller-piano |
There are two versions of this work: Violin and Piano (original version) and Cello and Piano (arranged 2009).
Buy the Score (Violin version [2006]) | Buy the Score (Cello version [arr. 2009])
Programme Note
Duo-Charged was written as part of the composer-in-residence project the composer completed with the Campbelltown Arts Centre in Sydney, 2006. The version for cello and piano was completed in 2009 for the Sydney Conservatorium of Music Centenary Competition, but was originally written for violin and piano.
As the title suggests, this short piece is very intense and 'charged.' This intensity mostly revolves around the very rigid rhythms of the first and last sections. The pitch material of the work is largely based on pitches found in the harmonic series with many of the piano chord shapes using equal tempered partials of the fundamentals. This is also largely the case with the Cello pitches, however there are often quartertonal glissandi used by the Cello as a 'smearing' effect.
As a contrast to the very rhythmically strict first section, the second is unmeasured and very free. Musical events in this section are outlined by an approximate length in seconds. The third and last section of the work sees a gradual return to the rigid and intense material of the first but with further development of the material and a final climax.
Instrumentation: Vln & Pno OR Vc & Pno.
Performances of this work:
4 May 2010: Eugene Goossens Hall ABC Sydney, ISCM World New Music Days Festival. Featuring Timo-Veikko Valve-cello and Bernadette Balkus-piano.
9 Dec 2006: Campbelltown Arts Centre. Featuring Fiona Ziegler-violin and David Miller-piano.
Buy the Score (Violin version [2006]) | Buy the Score (Cello version [arr. 2009])
Programme Note
Duo-Charged was written as part of the composer-in-residence project the composer completed with the Campbelltown Arts Centre in Sydney, 2006. The version for cello and piano was completed in 2009 for the Sydney Conservatorium of Music Centenary Competition, but was originally written for violin and piano.
As the title suggests, this short piece is very intense and 'charged.' This intensity mostly revolves around the very rigid rhythms of the first and last sections. The pitch material of the work is largely based on pitches found in the harmonic series with many of the piano chord shapes using equal tempered partials of the fundamentals. This is also largely the case with the Cello pitches, however there are often quartertonal glissandi used by the Cello as a 'smearing' effect.
As a contrast to the very rhythmically strict first section, the second is unmeasured and very free. Musical events in this section are outlined by an approximate length in seconds. The third and last section of the work sees a gradual return to the rigid and intense material of the first but with further development of the material and a final climax.
Instrumentation: Vln & Pno OR Vc & Pno.
Performances of this work:
4 May 2010: Eugene Goossens Hall ABC Sydney, ISCM World New Music Days Festival. Featuring Timo-Veikko Valve-cello and Bernadette Balkus-piano.
9 Dec 2006: Campbelltown Arts Centre. Featuring Fiona Ziegler-violin and David Miller-piano.