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(untitled) · A Dance and a Hymn to Alexander Maconochie · abglanzbeladen  . . .  auseinandergeschrieben · After the Fire · Agité II (Vibraphone transcription) · Agité II · Agnî-Prometheus-Lucifer · asymptotic freedom · basalt · Burning House · Chang-O Flies to the Moon · Cries and Whispers · Danses Gothiques · Diabolical Birds · Dodici Variazioni · Ecstatic Architecture · elision · Essaims-Cribles · Fate (and the Butterfly Effect) · Flying Banner · Fret (Agité IV) · funk · Garden of Earthly Desire · Gilgamesh · Glimeren · HELL · Immer Fliessender · In the Shadow's Light · Inguz · interference · inward · Koto · La Chûte d'Icare · Le silence -- tystnaden · Lemma-Icon-Epigram · Les Froissements des Ailes de Gabriel · Machine for Contacting the Dead · Madness in Paradise · Memorabilia · Ming Qi (Bright Vessel) · Mother Tongue · motion+form · Murderers of Calm · no time (at all) · Not Reconciled · Passing bells: night · PSYC · Reißwerck · Scorn · Shimmer · Sight and Sound of a Storm in Sky Country · Six Miniatures and a Simultaneous Song · songs found in dream · Sorrow, and its beauty · Spirit Weapons · Street of Crocodiles · Summer · Tarocchi · Terrain · The Alchemical Wedding · the blinding access of the grace of flesh · The Heart's Ear · The Quickening · the sadness of detail · The Tree of Life · Thousands of Bundled Straw V · transmission · Trittico per G.S. · Unity Capsule · Val Camonica pieces: Stile I, II, III · Vault  . . .  of Heaven · Veil · Voodoo Child · yashar yeHezu panemo

Programme Notes

Not Reconciled

Ming TSAO

Not Reconciled
clarinet, trombone, percussion, guitar, violoncello

Not Reconciled explores the boundary between logic and sound by attempting to mediate the two through the process of repetition. Repetition, as iterative impulse, endeavors to deconstruct the division between the physical perception of sound and the expectation of sequential sonic relationships by explicating a fluid musical structure that emanates from the friction caused between a sound's interior and exterior manifestations (as fermatas and metrical groupings respectively). Moments of self-awareness are attained through meta-repetition (as a group of repeated measures) that critiques this fluid structure by magnifying differences among expected relationships through questioning the identity of the repeated sounds. Minute differences among timbres erupt into structural differences among materials embodied in the `measure´, a lingering impression between articulated time points. Meter ultimately acts as a `sixth instrument´ whose physicality materializes through the remaining five instruments to project a rhythm of shifting proportions where any movement toward their reconciliation can be found only in the silent language of numbers.

Programme note © Ming TSAO

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Last updated Wednesday 10 March 2004
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