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Michael Gordon

Publisher: G. Schirmer

Trance (1995)
Red Poppy
Large Ensemble (7 or more players)
Year Composed
50 Minutes
Programme Note
Michael Gordon Trance (1995)

Composer note:
Trance began after a dream I had in July 1994 while I was in residence at the Djerassi Foundation just south of San Francisco. In the dream I brought my music to an older composer for his comments. The composer was a combination of Gyorgy Ligeti, Louis Andriessen and my own teacher Martin Bresnick. The older composer looked through my scores, one by one, and I could hear in my head the music that he heard in his head as he looked at my compositions. It all sounded like Mozart. After each score the composer shook his head in a discouraging way. Finally he turned to me and said, "You need to work with large forces." I woke up startled.

That day I received a message from Andrew Cornall, Executive Producer at Argo/Decca Records, who asked me to write a CD-length piece for the London-based ensemble Icebreaker, to be recorded on the Argo label. I had already written Yo Shakespeare for Icebreaker, and I was excited to write another piece for this great group. I started work on Trance. Thinking about my dream, I decided to add eight brass players to the core group of 14 musicians. In addition, two sections of the piece, "Trance Drone" and "Trance 5," include electronically made audio playback.

The rehearsal process with Icebreaker allowed experimentation with rhythmic figures that were beyond the scope of rhythm as known in Western music. These rhythms were complicated yet could be understood as a groove or feel. The openness and flexibility of Icebreaker allowed me to imagine music with a strong rhythmic pulse, written down, with no one playing on the beat. I imagined several interlocking units going on simultaneously –– like the different thoughts in one's head that go on at once, or, in this case, like being able to hear different kinds of music in one's head at the same time.

––Michael Gordon

Trance is dedicated to James Polk and Icebreaker.

  • Soloist(s)
  • Ensemble
  • Large Ensemble (7 or more players):
  • 24 MAY 2017
    Maison de la culture de Bourges, Bourges, France
    Ictus Ensemble
  • 04 MAR 2017
    Val-de-Marne, Pôle Culturel Alfortville, France
    Ictus Ensemble
  • 05 NOV 2015
    Rennes, France
    Maud Le Pladec, choreographer

    Other Dates:
    18,19 May 2016 - Grenoble, France
    7 November - Rennes, France
  • 15 JAN 2015
    Musiekgebouw, Amsterdam, Netherlands
    Ensemble Klang
  • 12 JAN 2015
    De Doelen, Rotterdam, Netherlands
    Ensemble Klang

    Other Dates:
    15 January - Muziekgebouw, Amsterdam, Netherlands
  • 12 JAN 2015
    De Doelen, Rotterdam, Netherlands
    Ensemble Klang
  • 23 OCT 2011
    Toronto, ON, Canada
    CONTACT Contemporary Music
  • 16 JUN 2010
    Frühlingsopfer (Ballet)
    Schwerin, Germany
    Mecklenburgische Staatskapelle

    Other Dates:
    30 June - Schwerin, Germany
  • 07 FEB 2010
    Frühlingsopfer (Ballet)
    Schwerin, Germany
    Mecklenburgische Staatskapelle Schwerin

    Other Dates:
    6 March; 3,16 April - Schwerin, Germany
  • 21 NOV 2009
    Schwerin, Germany
    Mecklenburgische Staatskapelle Schwerin
    Lars Scheibner , conductor

    Other Dates:
    13 December; 14 January 2010; 26 December; 23 January 2010 - Schwerin, Germany
  • 31 MAY 2009
    Bang on a Can Marathon
    Signal/Bang on a Can
    Brad Lubman, conductor
  • 22 APR 2009
    New York, NY
    Red Poppy/ Bang on a Can
    Brad Lubman, conductor

    Other Dates:
    31 May - New York, NY

Ataxia is a medical term. Its literal meaning is "disorder." A signal from the brain doesn't get picked up by the body and remains misunderstood....The sum total of dance and stage design renders "AtaXia" a most fascinating piece to behold. But the most impressive is the music, TRANCE, of American composer Michael Gordon....The composition is strongly minimalist, but at times also beautifully meditative because of its remixing of monk chants, or exotic when the panflute is heard. At the start of the chaotic is emphasized, but toward the end the music turns into driving, swinging rock music, ending in an almost ecstatic finale. It causes the dance to be progressively dramatic.
Isabella Lanz, NRC Handelsblad (Netherlands),01/01/0001
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