Ways of the Dance (2002–2003)
for piano and marimba/vibraphone
Requested by and dedicated to Ancuza Aprodu and Thierry Miroglio
Publisher: Bardic Edition
Playing Score (2 copies) BDE in preparation
Available from Goodmusic Publishing
Duration: c. 15 minutes
Première
First performance: Saturday 24 May 2003; Tage der Neuen Musik, Bamberg, Germany; Ancuza Aprodu piano, Thierry Miroglio marimba/vibraphone.
Further performances: 1.07.2003; New Music Indaba, Grahamstown, South Africa; Ancuza Aprodu piano, Thierry Miroglio marimba/vibraphone (South African premiere) 5.07.2003; New Music Indaba, Johannesburg; Ancuza Aprodu piano, Thierry Miroglio marimba/vibraphone 28.08.2003; Recife, Brazil; Ancuza Aprodu piano, Thierry Miroglio marimba/vibraphone (South American premiere) 28.09.2003; Lodi, Italy; Ancuza Aprodu piano, Thierry Miroglio marimba/vibraphone (Italian premiere) 25.09.2007; Baxter Concert Hall, Cape Town; Michael Blake Ensemble (Jill Richards piano, Magda de Vries marimba/vibraphone) 18.11.2007; ZK Matthews Hall, Pretoria; Michael Blake Ensemble
Programme note
“When you track an animal you must become the animal. Tracking is like dancing; because your body is happy you can feel it in the dance and then you know that the hunting will be good.”
This description of hunting by !Nqate Xqamxebe of the !Xo San (Bushmen) in the central Kalahari was the initial inspiration for Ways of the Dance, after I saw the Foster Brothers’ film The Great Dance (beautiful images, lousy music). I tried to evoke something of the fragility of life for this sadly vanishing group of Southern African inhabitants.
Ways of the Dance was written for Ancuza Aprodu and Thierry Miroglio who gave the first performance on 24 May 2003 at Tage der Neuen Musik, Bamberg, Germany. It lasts about 15 minutes.
Press
“Daneben präsentierten die Musiker in beachtlicher rhythmischer und dynamischer Feinabstimmung die von rhythmischer Spannung geprägten “Ways of the Dance” (Urauffuhrung!). Die zyklische Komposition lebt unter anderem davon, das die drei wuchtigen Eingangs akkorde geringfügig verschoben und aus dem korrekten rhythmischen Gleichmass gebracht werden — raffinierte Nutzung eines minimalen Mittels mit maximalem Effekt!” — Rupert Plischke, Fränkischer Tag, Bamberg, Monday 26 May 2003
for piano and marimba/vibraphone
Requested by and dedicated to Ancuza Aprodu and Thierry Miroglio
Publisher: Bardic Edition
Playing Score (2 copies) BDE in preparation
Available from Goodmusic Publishing
Duration: c. 15 minutes
Première
First performance: Saturday 24 May 2003; Tage der Neuen Musik, Bamberg, Germany; Ancuza Aprodu piano, Thierry Miroglio marimba/vibraphone.
Further performances: 1.07.2003; New Music Indaba, Grahamstown, South Africa; Ancuza Aprodu piano, Thierry Miroglio marimba/vibraphone (South African premiere) 5.07.2003; New Music Indaba, Johannesburg; Ancuza Aprodu piano, Thierry Miroglio marimba/vibraphone 28.08.2003; Recife, Brazil; Ancuza Aprodu piano, Thierry Miroglio marimba/vibraphone (South American premiere) 28.09.2003; Lodi, Italy; Ancuza Aprodu piano, Thierry Miroglio marimba/vibraphone (Italian premiere) 25.09.2007; Baxter Concert Hall, Cape Town; Michael Blake Ensemble (Jill Richards piano, Magda de Vries marimba/vibraphone) 18.11.2007; ZK Matthews Hall, Pretoria; Michael Blake Ensemble
Programme note
“When you track an animal you must become the animal. Tracking is like dancing; because your body is happy you can feel it in the dance and then you know that the hunting will be good.”
This description of hunting by !Nqate Xqamxebe of the !Xo San (Bushmen) in the central Kalahari was the initial inspiration for Ways of the Dance, after I saw the Foster Brothers’ film The Great Dance (beautiful images, lousy music). I tried to evoke something of the fragility of life for this sadly vanishing group of Southern African inhabitants.
Ways of the Dance was written for Ancuza Aprodu and Thierry Miroglio who gave the first performance on 24 May 2003 at Tage der Neuen Musik, Bamberg, Germany. It lasts about 15 minutes.
Press
“Daneben präsentierten die Musiker in beachtlicher rhythmischer und dynamischer Feinabstimmung die von rhythmischer Spannung geprägten “Ways of the Dance” (Urauffuhrung!). Die zyklische Komposition lebt unter anderem davon, das die drei wuchtigen Eingangs akkorde geringfügig verschoben und aus dem korrekten rhythmischen Gleichmass gebracht werden — raffinierte Nutzung eines minimalen Mittels mit maximalem Effekt!” — Rupert Plischke, Fränkischer Tag, Bamberg, Monday 26 May 2003
