EQUIVOQUE for accordion and tape. 1985. Commissioned by Joseph Petric. Part of the SPRING EQUINOX project. 5 minutes.
EQUIVOQUE for harpsichord and tape. 1998. Part of the SPRING EQUINOX project. Tape part available at either A=440Hz or A=415Hz. Score, part and DAT tape available through PROMETHEAN EDITIONS.
Download the tape part of the accordion version as an .MP3
Joseph Petric: GEMS.
For more information on the make-up of this work, read the essay:
The Art of the
Palimpsest: Compositional Approaches to the Music of J. S. Bach
Premiere performance: 1985.
Joseph Petric, accordion. Music Gallery, Toronto.
Equivoque is the second piece in an ongoing series of compositions
based on Johann Sebastian Bach's The Art of the Fugue ollectively called
Spring Equinox, and
it was written for the occasion of the master's 300th birthday
in 1985. Equivoque is a palimpsest of Contrapunctus XII,
the first of four two-part canons in the Art of the Fugue. Basic
melodic line, formal structure and tonal evolution are the same
in both works, but, whereas Contrapunctus XII is entirely in D
minor, Equivoque constantly fluctuates between the original
key and that of A-flat minor, tonally the most distant key to
D minor. As the title suggests, there is an equivocal treatment
of the two tonalities. The two keys are like red and green, image
and afterimage; they don't mix, yet they are complementary. There
is no linear, "qualitative" modulation from one to the
other, but rather a quantitative process of coexistence with various
degrees of balance between the opposing tonal forces. One key
is pitted against the other and both are struggling for possession
of the tonal center. This causes a disturbance to the listener's
sense of acoustical perspective, not unlike the kind of disturbance
on experiences with some of the engravings and lithographs of
M. C. Escher, an artist whose work has considerably influenced
my own, particularly in this series of compositions. Equivoque
is dedicated to Johann Sebastian Bach and Maurits Cornelis Escher
who inspired it, to Joeph Petric who commissioned it and to my
first music teacher, Charalambos Kehaides, who taught me to play
Joseph Natoli, THE FREE-REED REVIEW (Internet)
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