Film and Tv
Big Sky (2000)
Associated Music Publishers Inc
Works for 2-6 Players
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Score and Part(s):
Big Sky (2000)
was commissioned by the La Jolla Chamber Music Society for their "SummerFest La Jolla 2000" music festival.
This slow seven-minute trio for violin, cello and piano was intended as a companion piece to a short and fast trio entitled
And… They’re Off
(which was commissioned by the Scotia Festival in Canada where I served as composer/conductor-in-residence in 1996). The common subject of these two works is horsesnamely race horses. As a young girland like many young girlsI had an obsession with horses. When I was growing up in South America, my father bought me a racehorse. This was in Bolivia, where horses, even racehorses, were very cheap. I loved this horse and took very good care of it in our makeshift garage/stable. My obsession with horses continued into my teens when I learned to jump. More recently (and many years later), I found a partner whose main love is playing the horses!
is a piece based on a memory of riding my horse "Aymara" around in the deep valley of La Paz, Bolivia. The valley was surrounded by the huge and high mountains of the Andes range; and as I rode I looked into a vast and enormous sky. It was very peaceful and extraordinarily beautiful. We never went over one of these mountains, but if we had, it might have felt like what I wrote in this piece.
Discography - Big Sky
Chee-Yun, violin; André Emelianoff, cello; Joan Tower, piano
See full list
03 AUG 2012
04 MAY 2009
Kennedy Center, Washington, D.C.
Fortas Chamber Music Concerts: Composer Spotlight
Joan Tower, Muir Quartet, Kalichstein-Laredo-Robinson Trio
03 MAY 2009
Fortas Chamber Music Concerts
The Muir Quartet; Kalichstein-Laredo-Robinson Trio
14 OCT 2008
In Memory (string quartet)
Sarah Lawrence Colege, Bronxville, NY
Joan Tower, piano
06 SEP 2008
Or Like a...an Engine
A Singular Voice: Joan Tower Celebrates 70!
Merkin Concert Hall at Kaufman Center, New York City
Big Sky has somewhat softer contours. It begins and ends in a subdued, melancholy atmosphere, while the climactic central section jars with its abrupt syncopations fleshed our in a robust, quasi-romantic piano writing.
Victor Carr, Jr., ClassicToday.com,1/1/0001
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