Falling from Cloudless Skies
Derek Charke
Ensemble: Wind Ensemble
Additional Performing Forces: Electronics
Grade: 5
Duration: 15:00
Year of Composition: 2009
Commissioned by: Winnipeg Symphony Orchestra
Premiered by: Acadia University Wind Ensemble (Mark Hopkins, conductor)
Date of Premiere: March 20, 2010
Publisher: Canadian Music Centre
Year of Publication: 2016
Publisher Catalog Number: MI 9371 C473fa
Available: Yes
How to Acquire: Publisher, Rental
Links:
Flutes 1,2,3,4 (flutes 3 and 4 double piccolo)
Oboes 1,2
Bassoon
E♭ Clarinet
B♭ Clarinets 1,2,3
B♭ Bass Clarinet
E♭ Alto Saxes 1,2
B♭ Tenor Sax
E♭ Baritone Sax
B♭ Trumpets 1,2,3,4 (Trumpet 1 optional doubles E♭)
F Horns 1,2,3,4
Trombones 1,2
Bass Trombone
Euphoniums 1,2
Tuba
Double Bass 1,2
Piano
6 Percussion
Adapted for band in 2010 by the composer from the original work for orchestra and electronics.
Program Notes:
Falling from Cloudless Skies incorporates processed and synthesized sounds of ice – creaking ripping, tearing sounds to mimic the ice – flaw leads, water and underwater sounds. Electronic and ecological sounds are paired with the orchestra, both as an instrument in the orchestra, and also juxtaposed, as if in competition with the acoustic instruments. The ultimate goal is to place the musicians into an environment that is not normal; an abstraction of an all too familiar concept amongst scientists dealing with global warming. I’ll use the example of the polar bear that must attack the walrus, a prey that is too large, because it has no alternative. I began this new work by capturing (recording) sounds in the field, including the use of hydrophones for underwater sounds. Electronic sounds, other than the environmental sounds collected at the source include cracking, breaking, rubbing, tearing, ripping and crashing kinds of sounds that were created using mostly frozen ice, cardboard, plastic, creaking doors and velcro. Chunks of ice were created in my freezer and then smashed and cracked. I edited the sounds in my home studio using a combination of Max/MSP/Jitter, Pro Tools and Digital Performer. The orchestra score was then created in tandem with the electronic materials.
(Notes for original version, adapted from charke.com)
