By the same authors

To See the Dark Between: for 2 violins, 2 violas, 2 cellos and piano

Research output: Non-textual formComposition

Standard

To See the Dark Between : for 2 violins, 2 violas, 2 cellos and piano. Suckling, Martin Charles (Composer). 2011. London : Faber Music Ltd.Event: Aronowitz Ensemble performance - Kammermusik Bodensee, Konstanz, Germany.

Research output: Non-textual formComposition

Harvard

Suckling, MC, To See the Dark Between: for 2 violins, 2 violas, 2 cellos and piano, 2011, Composition, Faber Music Ltd., London.

APA

Suckling, M. C. (Composer). (2011). To See the Dark Between: for 2 violins, 2 violas, 2 cellos and piano. Composition, London: Faber Music Ltd.. Retrieved from http://www.thesundaytimes.co.uk/sto/culture/music/classical/article288483.ece

Vancouver

Suckling MC (Composer). To See the Dark Between: for 2 violins, 2 violas, 2 cellos and piano London: Faber Music Ltd.. 2011.

Author

Suckling, Martin Charles (Composer). / To See the Dark Between : for 2 violins, 2 violas, 2 cellos and piano. [Composition].

Bibtex - Download

@misc{e0a44f40c4af46c1ba235b7bb698650a,
title = "To See the Dark Between: for 2 violins, 2 violas, 2 cellos and piano",
abstract = "[programme note] To See the Dark Between takes snapshots of what could be imagined as progressively higher magnifications of the initial piano stroke. Initially all that can be heard are static chords, but gradually these turn into polyphonic melodies, as though glimpsed through fog. Suddenly the perspective changes and the sustained notes break up into pinprick cascades of notes, a mad guitar accompanying lamenting string melodies. After an ornate trio, a further increase in magnification reveals a swirling polyphony of dances, all ‘as though’ contained within the violent piano opening that also closes the piece. Alternatively, it could be seen as a series of ways in which the piano can be brought into a relationship with the strings. The strings emerge from the opening percussive attacks, fused to the piano sound. Then strings and piano collaborate in a pizzicato/staccato clouds, before the sustaining power of the piano’s low register is explored next to the two cellos. Finally, the ensemble breaks into independent strands, the strings providing a song and a pair of dances, with the piano interjecting with sparkling arpeggios.",
author = "Suckling, {Martin Charles}",
note = "Martin Suckling was one of the winners of the 2008 Royal Philharmonic Society Composition Prize and was consequently commissioned by the Royal Philharmonic Society and the Wigmore Hall to write this work for the Aronowitz Ensemble First performed by the Aronowitz Ensemble on 9th May 2010 in the Wigmore Hall, London Subsequently performed by the Aronowitz Ensemble at Kammermusik Bodensee on 21st August 2011 Duration: c.10 minutes Instrumentation: 2 violins, 2 violas, 2 cellos, piano Recorded by the Aronowitz Ensemble on Sonimage SON11202, release date 21st May 2012 Shortlisted for a British Academy of Composers and Songwriters British Composer Award 2011.",
year = "2011",
language = "English",
publisher = "Faber Music Ltd.",

}

RIS (suitable for import to EndNote) - Download

TY - ADVS

T1 - To See the Dark Between

T2 - for 2 violins, 2 violas, 2 cellos and piano

A2 - Suckling, Martin Charles

N1 - Martin Suckling was one of the winners of the 2008 Royal Philharmonic Society Composition Prize and was consequently commissioned by the Royal Philharmonic Society and the Wigmore Hall to write this work for the Aronowitz Ensemble First performed by the Aronowitz Ensemble on 9th May 2010 in the Wigmore Hall, London Subsequently performed by the Aronowitz Ensemble at Kammermusik Bodensee on 21st August 2011 Duration: c.10 minutes Instrumentation: 2 violins, 2 violas, 2 cellos, piano Recorded by the Aronowitz Ensemble on Sonimage SON11202, release date 21st May 2012 Shortlisted for a British Academy of Composers and Songwriters British Composer Award 2011.

PY - 2011

Y1 - 2011

N2 - [programme note] To See the Dark Between takes snapshots of what could be imagined as progressively higher magnifications of the initial piano stroke. Initially all that can be heard are static chords, but gradually these turn into polyphonic melodies, as though glimpsed through fog. Suddenly the perspective changes and the sustained notes break up into pinprick cascades of notes, a mad guitar accompanying lamenting string melodies. After an ornate trio, a further increase in magnification reveals a swirling polyphony of dances, all ‘as though’ contained within the violent piano opening that also closes the piece. Alternatively, it could be seen as a series of ways in which the piano can be brought into a relationship with the strings. The strings emerge from the opening percussive attacks, fused to the piano sound. Then strings and piano collaborate in a pizzicato/staccato clouds, before the sustaining power of the piano’s low register is explored next to the two cellos. Finally, the ensemble breaks into independent strands, the strings providing a song and a pair of dances, with the piano interjecting with sparkling arpeggios.

AB - [programme note] To See the Dark Between takes snapshots of what could be imagined as progressively higher magnifications of the initial piano stroke. Initially all that can be heard are static chords, but gradually these turn into polyphonic melodies, as though glimpsed through fog. Suddenly the perspective changes and the sustained notes break up into pinprick cascades of notes, a mad guitar accompanying lamenting string melodies. After an ornate trio, a further increase in magnification reveals a swirling polyphony of dances, all ‘as though’ contained within the violent piano opening that also closes the piece. Alternatively, it could be seen as a series of ways in which the piano can be brought into a relationship with the strings. The strings emerge from the opening percussive attacks, fused to the piano sound. Then strings and piano collaborate in a pizzicato/staccato clouds, before the sustaining power of the piano’s low register is explored next to the two cellos. Finally, the ensemble breaks into independent strands, the strings providing a song and a pair of dances, with the piano interjecting with sparkling arpeggios.

M3 - Composition

PB - Faber Music Ltd.

CY - London

ER -