Located in the UK
Located in the USA
Located in Europe
- Benedict Mason
! (1992)
- Chester Music Ltd (World)
Commissioned by the London Sinfonietta with funds from Musica, Strasbourg and the Arts Council of Great Britain
Players also double on Barnes and Mullins swanee flutes*, horsepipe whistles*, devil chasers* and schwirrbogen*
- 1(pic.bfl.panpipes*)1(ca)1(bcl.xaphoon*).1(heck)/11(ptpt.flg)1(euph).0/perc/pf/str(1.1.1.1.1) *=available to hire from the composer
- 20 min
Programme Note
BENEDICT MASON: !
Commissioned by the London Sinfonietta and Musica, Strasbourg
with funds from the Arts Council of Great Britain
First performance 4 October 1992, Palais des fêtes, Strasbourg,
! Is here used not as a punctuation mark but as
a phonetic symbol for the alveopalatal click produced
by pulling the tongue sharply away from the front of
the hard palate - the classic sound made to immitate
horses hooves. (People who can't make this sound may
substitute the lateral, or fricative - phonetically: ||
click. This is the 'gee-up' click made to encourage
horses.)
This is a resonant title in more ways than one: it
reflects not only the abstract and percussive qualities
of the piece, but its mouth resonance reflects the
rich superimposition of horizontal layers sometimes to
be found in the piece. Furthermore there is the
occasional inspiration of the antiphony, polyphony,and
hocketing of flutes, mouthbows (more mouth resonance)
mbiras and singing of those peoples that use such
click sounds in their language.
B. Mason
Commissioned by the London Sinfonietta and Musica, Strasbourg
with funds from the Arts Council of Great Britain
First performance 4 October 1992, Palais des fêtes, Strasbourg,
! Is here used not as a punctuation mark but as
a phonetic symbol for the alveopalatal click produced
by pulling the tongue sharply away from the front of
the hard palate - the classic sound made to immitate
horses hooves. (People who can't make this sound may
substitute the lateral, or fricative - phonetically: ||
click. This is the 'gee-up' click made to encourage
horses.)
This is a resonant title in more ways than one: it
reflects not only the abstract and percussive qualities
of the piece, but its mouth resonance reflects the
rich superimposition of horizontal layers sometimes to
be found in the piece. Furthermore there is the
occasional inspiration of the antiphony, polyphony,and
hocketing of flutes, mouthbows (more mouth resonance)
mbiras and singing of those peoples that use such
click sounds in their language.
B. Mason