| Notice (fr) : |
Le titre Flung me, foot trod vient du sonnet de Gerard Manley Hopkins, Carrion Comfort. C’est une poésie de l’urgence, violente, excitante mais ce n’est pas avant d’avoir lu quelques-unes des propres notes de Hopkins sur ses vers que je me suis senti obligé de lui emprunter un titre. Il écrit d’un mot, «grossièreté», qu’il doit être énoncé avec force «d’une manière frustre, violente, barbare». Ceci, plus qu’autre chose, résume bien l’articulation nécessaire pour interpréter ma pièce. La bande est constitué de sons de saxophone alto, joué par Gary Scavone, qui joue également la partie solo. La version présentée ici est une version mixée de l’œuvre. |
| Notice (en) : |
The title Flung me, foot trod takes its title from the Gerard Manley Hopkins sonnet, “Carrion] Comfort.” This is urgent, violent, exciting poetry, but it was not until I read some of Hopkins’ own notes to the verse that I felt particularly drawn to pilfering a title from him. He writes of one word, “rude”, that must be enunciated with force, “in an uncouth, violent, barbarous manner.” This, if anything, summarizes the articulation necessary to interpret my piece. In preparing the tape, I sampled selected portions of the solo part. In particular I concentrated on some of the more unorthodox sounds an alto saxophone can, etc. For demonstrating these sounds I am very grateful to Gary Scavone who gave freely of his time and tolerated my often outlandish requests. Indeed, the whole piece is aimed at utilizing his slick virtuosity. Armed with these samples, it was my intention to create sounds that go far beyond the timbral qualities of the saxophone. Although the tape sometimes presents recognizable saxophone sounds, on the whole it is in its own sonic realm, marrying itself with the solo part only in its presentation of similar material types (driving rhythms, scurrying textures etc.). It was not my intention to create the effect of an “orchestra of saxophones”, or to have the saxophone play against itself on tape. On the contrary, flung me, foot trod takes its precedent from the solo concerto, pitting two unequal forces against each other, their only common ground being material and, hence, structure. On the more technical side, the samples were processed using Bill Schottstaedt’s Common Lisp Music, the note lists were created with Heinrich Taube’s Common Music, and the mixing was accomplished with Paul Lansky’s Real Time Mixer application? all on the NeXT computer. |