| Root of Ether Potenza Music
Bass flute solo SKU: P2.10020 Composed by Cornelius Boots. Solo music, 20...(+)
Bass flute solo SKU:
P2.10020 Composed by
Cornelius Boots. Solo
music, 20th century.
Published by Potenza
Music (P2.10020).
The first part
of the Chthonic Flute
Suite commissioned by
Areon Flutes in 2012.
This suite has two main
inspirations:
ideologically it draws
guidance from the book
The Dream and the
Underworld (1979)by James
Hillman (1926-2011) and
musically it explores the
textural possibilities of
a flute ensemble within
the context of the heavy
chamber music style I
have developed with
Edmund Welles: the bass
clarinet quartet since
1996. This style draws
virtuosic precision from
the classical realm;
innovation and texture
from jazz; and power,
rhythm and overall
perspective from rock and
metal. The term chthonic
[thon-ik] generally means
underworld. However,
Hillman thoroughly
elaborates that its true
meaning extends below the
earth and beyond it into
invisible, non-physical
and far distant psychic
realms: the deeper
mysteries of the
invisible. The journey to
the underworld is a solo
undertaking of the self,
towards the unknown, yet
still rooted within. The
low bass tones invoke
mystery and point the
direction. As an
explorer, licensed
teacher of and composer
for the shakuhachi (an
ancient Zen flute crafted
from the thicker root-end
of bamboo) I have become
initiated into the
sense-characteristics of
playing a flute that has
actual roots as part of
its structure. Physically
this changes the balance,
sonically it presents
certain deepening
qualities, and
aesthetically it alters
your connection to the
dead and dried piece of
nature. I have composed
27 solo pieces and etudes
for Taimu (a very thick,
bass variant on the
traditional shakuhachi
flute) and tapped into
the same dense, slow,
timbral approach for this
movement. However, the
chromatic, metal, modern
bass flute offers a whole
new set of possibilities
and so the movement
explores a wide realm of
sounds and tempos. Being
rooted in the actual
ground is an appropriate
starting point for the
underworld exploration of
the whole suite that only
goes deeper from this
point downwards. The
primacy of the root pitch
in tonal music is another
contributing facet to the
root aspect of this
title. $14.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| A Love Supreme Big band [Conducteur et Parties séparées] - Avancé Jazz Lines Publications
Recorded by the Lincoln Center Jazz Orchestra. Arranged by Wynton Marsali...(+)
Recorded by the
Lincoln Center Jazz
Orchestra. Arranged
by Wynton Marsalis. Jazz,
Swing. Score and parts.
Published by Jazz Lines
Publications
(JL.JLP-7420).
$150.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Void of Day Trio de Flûtes: 3 flûtes Potenza Music
Flute trio SKU: P2.10022 Composed by Cornelius Boots. Chamber music, 20th...(+)
Flute trio SKU:
P2.10022 Composed by
Cornelius Boots. Chamber
music, 20th century.
Published by Potenza
Music (P2.10022).
The third part
of the Chthonic Flute
Suite commissioned by
Areon Flutes in 2012.
This suite has two main
inspirations:
ideologically it draws
guidance from the book
The Dream and the
Underworld (1979)by James
Hillman (1926-2011) and
musically it explores the
textural possibilities of
a flute ensemble within
the context of the heavy
chamber music style I
have developed with
Edmund Welles: the bass
clarinet quartet since
1996. This style draws
virtuosic precision from
the classical realm;
innovation and texture
from jazz; and power,
rhythm and overall
perspective from rock and
metal. The term chthonic
[thon-ik] generally means
underworld. However,
Hillman thoroughly
elaborates that its true
meaning extends below the
earth and beyond it into
invisible, non-physical
and far distant psychic
realms: the deeper
mysteries of the
invisible. The trio is
divided into three
sections: The Way We
Descend--Reflection of
Narcissus--Below Nature.
Taking a break from Greek
myth-nerd terms, this
movement introduces
chthonic-flavored phrases
that elaborate on our
descent into the
underworld, specifically
through dreams. The realm
of the underworld can be
such a shock to our
dayworld, limited, egoic
consciousness that it can
seem like a violation as
Hillman points out,
referencing the Greeks:
This style of the
underworld experience is
overwhelming, it comes as
violation, dragging one
out of life and into the
Kingdom that the Orphic
Hymn to Pluto describes
as 'void of day.' So it
often says on Greek
epitaphs that entering
Hades is 'leaving the
sweet sunlight.' (p.49)
He elaborates on the
differences between
dayworld and underworld
perspectives: The dream
is not compensation but
initiation. It does not
complete
ego-consciousness, but
voids it. So it matters
very much the way we
descend. (p.112) He goes
on to describe the
various modes in which
mythical figures have
descended: Ulysses and
Aenas to learn; Hercules
to take and to test, for
example. To act like
Hercules, like the hero,
in the underworld is to
miss the point and cause
more problems, the
villain in the underworld
is the heroic ego, not
Hades. (p.113). $21.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
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