Not broken bruised-reed : for violin, percussion and piano
by Bruce Crossman (2009)
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The Judaic-Christian idea of not breaking a bruised-reed or
snuffing out light but
instead allowing it to flourish is the basis behind this composition. The heart of
the sounds draw on the poignancy of the Korean kyemyŏnjo scale a s the basis
for the Pansori-like-traditional speech-song form-as a type of bruised
utterance that emerges from noise to flower in lyricism. Its chromatic-tinged
wholetones from the basis of layered harmonic resonances which wrestle with
jazz-influenced sections based on extemporizations on Korean changgo rhythm.
The rhythmic and harmonic complexity is matched by resonating metals from
luminous Filipino kulintang gong-chimes, soft Korean ching drones and strident
k'kwaenggwari accelerations. A controlled extemporization for the players
emerges at the work's centre culminating in the instrumentalists' vocalized cry
"a-p'u-ji a-na." A late flowering of the earlier Korean modal resonances returns
and then rests within the quiet living colours of prepared piano vibrations,
whistling, ching glissando, and breath.
Instrumentation: Piano, percussion (1 player), violin.
Duration: 10 min.
First performance: at Creative Explosion 2: East and West Confluences (The Playhouse, WSU Penrith) on 22 Oct 2009
Written for the Creative Explosion 2: East and West Confluences concert at the Creative Explosion Festival, University of Western Sydney on 22 October 2009 with the performers James Cuddeford
(violin), Claire Edwardes (percussion) and Zubin Kanga (piano).
Resonate article: Works by Crossman and Myers at the ACL festival in Taiwan by Australian Music Centre
Performances of this work
3 Dec 2011: at 29th Asian Composers League and Festival (Taipei University of the Arts Performing Arts Center).
22 Oct 2009: at Creative Explosion 2: East and West Confluences (The Playhouse, WSU Penrith).
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