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Well, here we go again... It's been about 4 months since my last submission.
Aftermath is a single-movement, concerto-like piece for solo percussion (vibes mostly, but also a 1/4 tone vibe-like instrument, timp, and tam-tam) and string orchestra. It was commissioned by the Newfoundland Symphony Orchestra, and written between July-December of 2006. I dedicated it to the memory of John Wyre, a unique, spiritual, and amazing percussionist (he was a longtime member of Nexus, and principal percussionist of the Toronto Symphony for many years), composer, and human being, whom I got to know during the last years of his life, when he moved to the relatively remote city of St. John's, where I live. John passed away while I was writing this, and he was very much in my thoughts as I wrote the meditative, hypnotic vibraphone cadenza (solo).
This is to be premiered this weekend (13 Jan., 2007), but since I am unlikely to have a live recording of it, I thought I'd post my MIDI version.
Duration: about 13 minutes.
Aftermath is a single-movement, concerto-like piece for solo percussion (vibes mostly, but also a 1/4 tone vibe-like instrument, timp, and tam-tam) and string orchestra. It was commissioned by the Newfoundland Symphony Orchestra, and written between July-December of 2006. I dedicated it to the memory of John Wyre, a unique, spiritual, and amazing percussionist (he was a longtime member of Nexus, and principal percussionist of the Toronto Symphony for many years), composer, and human being, whom I got to know during the last years of his life, when he moved to the relatively remote city of St. John's, where I live. John passed away while I was writing this, and he was very much in my thoughts as I wrote the meditative, hypnotic vibraphone cadenza (solo).
This is to be premiered this weekend (13 Jan., 2007), but since I am unlikely to have a live recording of it, I thought I'd post my MIDI version.
Duration: about 13 minutes.
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Bowman
My first impressions are that as abstract and as dissonant as you sometimes can be I never find it off-putting. On the contrary there is always beauty in your music. This piece builds to points of intensity then takes us to a quiet singularly intimate world where chimes are playfully played with and discoveries await us. But behind the play lurks a dark almost sinister aspect that wants to play but also is dangerous and easily stirred to an angry swirling vortex. For the moment youthful joy wins out. But will it always? I see great colors and movement in this and wonderful musical characters. It's been too long since your last submission Clark but it's been worth the wait.
Charles/Bowman