This is the colour of my dreams
solo cello and orchestra

Kelly-Marie Murphy
Kelly-Marie Murphy
Date de composition : 1997
Date de révision : 1998
Durée: 00:15:00
Genre: Orchestra / Large Ensembles, Orchestra with Soloist, Cello(s)


Instrumentation no. 1:
  • 2 x Flûte
  • 2 x Hautbois
  • 2 x Clarinette
  • 2 x Basson
  • 4 x Cor
  • 3 x Trompette
  • 3 x Trombone
  • 1 x Tuba
  • 1 x Timbales
  • 1 x Percussion
  • 1 x Piano
  • 1 x Cordes, avec archet, non spécifées
Instrumentation no. 2:
  • 1 x Violoncelle
  • 1 x Grand orchestre
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Notes de programme :
'This is the colour of my dreams' was commissioned by the CBC for Shauna Rolston, and was written between January 4 and June 4 of 1997. It is a single-movement concerto in four sections and lasts under ten minutes.

The title comes from a surrealist painting by Joan Miro called 'Photo: Ceci est la couleur de mes reves'. The painting is stunning in its simplicity and directness. It consists of a single blue smudge, with the words of the title written in a calligraphic style beneath it. It seems to me to pose this question: If you could take a snap shot of Miro's dream, would it develop as the isolated blue point?

This led me to think about our habit as a society of dreaming, wishing, hoping, striving to fulfill a goal that may, to others anyway, seem rather extraordinary or even frivolous. Throughout the piece, the cello has the role of the dreamer: first evoking the dream and giving it life, and then running with it and discovering its depth and dimensions, being exhausted by it, and finally understanding it. The fundamental notion is that no matter what the hurdles and difficulties, life would be less appealing without allowing yourself the freedom to reach beyond what is most easily accessible. It is about experiencing the act of reaching towards something, not necessarily about achieving it.

This piece further explores my interest in the individual voice in contrast to a larger group. The cello is often playing alone or being answered by the orchestra rather than being accompanied by it in a traditional way. There is more of a conversational approach to the orchestration. There are points where the soloist engages in duets with violin, xlyophone, and cello. These represent conversations on a different level: vigorous, agitated, perhaps argumentative. There are two elements which continue to influence my thinking about sound production, especially on stringed instruments; folk singing styles, and Celtic fiddling. In folk singing styles from blues to Balkan, colour and emotive quality are added by bending notes and manipulating vibrato. Celtic fiddling, to my ear, has a distinctive dark and sustained sound - the bow seems always to be in firm contact with the string no matter what the speed. (Kelly-Marie Murphy, July 1997, from score)

"It matters not how slowly you go, as long as you do not stop."


  • Cote:
  • MI 1313 M978thi 1998
  • Genre:
  • Orchestra / Large Ensembles, Orchestra with Soloist, Cello(s)
  • Date d'acquisition :
  • November 8, 2000
  • Type:
  • Partition, inédite
  • Description physique :
  • 1 score (iv, 36 p.) ; 43 cm.
    40 pages
    Hauteur: 43 cm
    Largeur: 28 cm
    Nombre total de pages des parties: 100
    28 parts ((100) p.) ;
    Hauteur: 32 cm
  • Renseignements supplémentaires :
  • For solo violoncello and orchestra.

    Instrumentation : Solo violoncello/2222/4331/timp, perc(2), piano/strings.

    Full score in C (revised edition).

    Contains notation and performance notes.

    Commissioned by the Canadian Broadcasting Corporation for Shauna Rolston with the Toronto Symphony Orchestra.

    Photocopy; master of score and parts in CMC Toronto.

    Additional People:
    Shauna Rolston
    Joan Miró
    Toronto Symphony Orchestra
    Canadian Broadcasting Corporation
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