Score
L’amour est la drogue : for chamber orchestra and DJ / Andrián Pertout.
Library shelf no. 784.3/PER 2 [Available for loan]
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Work Overview
L'amour est la drogue or
'Love is the Drug' was commissioned by Mario Dobernig and the Art
of Sound Orchestra (Australia) as part of the 'Thick as Thieves:
A Collaboration with EDM Superstar DJs Nick Coleman (AUS), T-REK
(AUS) and Phil Kieran (NIR)' project at iconic Melbourne
nightclub Revolver Upstairs. The title L'amour est la
drogue has been derived from the song Love is
the Drug by English rock band Roxy Music, which was released
on their fifth studio album Siren (1975), and
later covered by Jamaican singer, songwriter, lyricist,
supermodel, record producer and actress Grace Jones on Warm Leatherette (1980).
The work serves as an exploration of the musical implications of
combinatoriality as an organizational determinant, and within its
rhythmic structure exclusively utilizes 'de Bruijn' rhythms -
named after Dutch mathematician Nicolaas Covert de Bruijn
(1918-2012), and eloquently described in the publication of
Creating Rhythms (2014) by Stefan Hollos and
J. Richard Hollos. The work incorporates the 16 unique B(4) de Bruijn sequences of order 4, as well as a
'tape' element (intended for performances without DJ), which
includes a set of six samples derived from the Uberjakd (aka Ben
John Grzywacz) Remix (2013) of Nick Coleman's Faces of Meth (2008) - reputed as "one of the biggest
club tracks to come out of Melbourne." The pitch material may be
defined as Masaya Yamaguchi's 6-note derivative scale 305c (C D#,
E, F#, A and Bb), a derivative (or a mode) of 6-30Sa (C Db, Eb,
F#, G and A with the vector 224223) from The
Complete Thesaurus of Musical Scales (2006). This scale is
essentially an 'octatonic minor' scale omitting tones 2 and 6, or
the minor second and perfect fifth intervals of this 'eight-tone
symmetrical' scale. The indeterminate performance structure has
been inspired by the open-form (or mobile) works of American
composer Earle Brown, and in particular Novara for flute, bass clarinet, trumpet, pianoforte, 2
violins, viola and violoncello (1962) where the conductor is
essentially given total freedom to "conduct the events in any
sequence or juxtaposition, in changing tempi, loudness and, in
general, mould and form the piece."
Work Details
Year: 2016
Instrumentation: Flute, oboe, B flat clarinet, horn, B flat trumpet, tenor trombone, strings, tape – (CD player or computer).
Duration: 6 min.
Difficulty: Advanced — Professional
Commission note: Commissioned by Mario Dobernig and the Art of Sound Orchestra (Australia)
First performance: by Art of Sound Orchestra, Mario Dobernig — 14 Sep 16. Revolver Upstairs, Prahran, Melbourne
The composer notes the following styles, genres, influences, etc. associated with this work:
Earle Brown (1926-2002). Nick Coleman’s Faces of Meth (2008) ; Uberjakd (aka Ben John Grzywacz) ; Combinatoriality Nicolaas Covert de Bruijn (1918-2012) 16 unique B(4) de Bruijn sequences of order 4 Creating Rhythms (2014) by Stefan Hollos and J. Richard Hollos ; Masaya Yamaguchi’s The Complete Thesaurus of Musical Scales (2006)
Composer's no. 437.
Performances of this work
14 Sep 16: Revolver Upstairs, Prahran, Melbourne. Featuring Art of Sound Orchestra, Mario Dobernig.
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