Composition Date: 2015
Duration: 00:15:00
Genre: Strings (plectral), Ensemble, Mixed Ensembles, Duet

Instrumentation:

Instrumentation Set Number 1:
  • 1 x Guitar
  • 1 x Harp
Click here to download full work (10.17 Mb - Not printable)

Programme Note:
Composing this work was a lesson in creativity for me. I had set out with a goal to write a jousting, competitive dual for 2 virtuoso players. I had a meticulous plan made of chords, pitches, long term structure, and candezas. I began to write, and out came what I immediately recognized as a totally different piece. This was a junction: One road would leverage my technique as a composer to will my plan into being. The other would abandon my preconceived ideas, instead listening deeply to the music that had emerged, pursuing it with technique in tow. So which to choose? I followed the music, and Equations/Constellations is the result. The title Equations/Constellations comes directly from an email response that harpist Sanya Eng had sent me in response to a pre-compositional interview: Staniland: “What is it about the combination for guitar/harp and or Rob (MacDonald)/Sanya (Eng) that excited you to want to do a program together? Eng: “After working with Rob (MacDonald) on the Leroux I knew in my gut that I had to explore this combination of instruments further not only because of how fantastic the pairing can sound when done right, but also because of how great it is to work with Rob. I truly believe that amazing things happen when all the elements align, and this is one of those equations/formulas/constellations”. I liked the musical possibilities of the terms, and the way the hyphen suggests a formula or process of modulation of the two concepts.

The piece unfolds as follows:
I Equations
Equation 1: “Dreaded Sea Angels” Equation 2: “Expansion”
II Constellations
Constellation 1: “Hubble Hauptstimme: Omega Centauri with imagined lensing”
Constellation 2: “Again, Higher”
III Equations/Constellations: “Ludus”

In Equations, the subtitle “Dreaded Sea Angels” references two of my recent works Dreaded Sea Voyage, for guitar and electronics, and Four Angels, for orchestra. The tetrachoral motif in this movement combines traits from these 2 pieces, creating a new hybrid motif which is explored timbrally, finding its way through similarity (equation) and difference (non-equation) in both register and instrumentation. In Constellations, inspired by Sanya Eng’s interview, I took a photo from the Hubble Space Telescope (a close-up of the Star Cluster Omega Centauri), taped it to a piece of manuscript, and poked a bunch of holes in the image that aligned with bright stars. I then peeled back the photo to reveal the music that appeared on the manuscript. The resulting melody appears as a long delicate phrase with a subtle Renaissance sound to it due to a modal treatment. In its 2 appearances, it is written in strict canon as a musical metaphor to Einstein’s theory of gravitational lensing, where light from the cosmos can appear distorted, and even appear in multiple places. The work concludes in Equations/Consellations: Ludus, latin for game. Here the instruments interact with a rhythmic riddle using percussive and melodic ideas drawn from the previous 2 movements. The writing is joyful, underlied by a mysterious riddle/formula/equation/constellation. Equations/Constellations was commissioned by Daniel Cooper, and is dedicated to harpist Sanya Eng and guitarist Rob MacDonald.

Premiere Information:
31 March 2017, Music Gallery, Toronto, Ontario
Rob MacDonald, Guitar; Sanya Eng, Harp

CATALOGUE INFO:

  • Call Number:
  • MI 4242 S784equ
  • Genre:
  • Strings (plectral), Ensemble, Mixed Ensembles, Duet
  • Date of Acquisition:
  • April 24, 2017
  • Type:
  • Print-music, Published by CMC
  • Physical Description:
  • Score
    34 Pages
    Height: 30 cm
    Width: 23 cm
    Parts page count: 37
    2 parts
    37 Pages
    Height: 30 cm
    Width: 23 cm
  • Additional Information:
  • Equations
    Constellations
    Equations/Constellations: “Ludus”

    Commissioned By: Daniel Cooper
    Dedicated to Rob MacDonald and Sanya Eng
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Equations/Constellations for guitar and harp: Score and Parts
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Composition Date: 2017
Duration: 00:13:00
Genre: Solo Voice, With Chamber Ensemble, , Plectral String / String Bowed

Instrumentation:

Instrumentation Set Number 1:
  • 1 x Guitar
  • 1 x Unspecified voice
  • 1 x Violin
Click here to download full work (8.47 Mb - Not printable)


Premiere Information:
1996, Music Gallery, Toronto, Ontario
William Beauvais, guitar; Linda Eyman, voice; Julian Knight, violin

CATALOGUE INFO:

  • Call Number:
  • MV 1206 B385it
  • Genre:
  • Solo Voice, With Chamber Ensemble, , Plectral String / String Bowed
  • Date of Acquisition:
  • April 13, 2017
  • Type:
  • Print-music, Published by CMC
  • Physical Description:
  • Score
    14 Pages
    Height: 28 cm
    Width: 22 cm
  • Language Information
  • Main language: English
  • Additional Information:
  • Like Two Branches
    Poem For A Dark Woman
    Love As Though
    What Dew Is
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Centrestreams:

Click here to listen to It Might Come Down To Our Love for baritone, violin, and guitar in Centrestreams.

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It Might Come Down To Our Love for baritone, violin, and guitar: Score
Score
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$8.99
It Might Come Down To Our Love for baritone, violin, and guitar by William Beauvais (Score)
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$10.99
It Might Come Down To Our Love for baritone, violin, and guitarYou can obtain a paper copy of this work for:
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Copies of this work are available for loan from: Toronto, Calgary






wilbeau picture
by wilbeau
on April 10, 2017

Editing creates more and more sense out of a work or text. Everything in a piece is there for more than one reason; a chord might support the melody and develop a counter melody. An inner voice might give breathing room to the main tune but add a small, unexpected surprise to the texture.

I have just re-imagined a set of songs originally written over 20 years ago and observe that the harmonies were chosen often to clash with the vocal line. They were chords and clusters selected with joy, I was happy just to play them so long ago, but now I work to meld them into a cohesive shape.

wilbeau picture
by wilbeau
on July 20, 2016

I believe we have to rehearse differently depending on our state of mind. In order to process lots of data effectively we must be alert and have the necessary energy to do so. For this reason learning new pieces or new habits requires more energy while reviewing older pieces takes less.

wilbeau picture
by wilbeau
on April 23, 2016

Sometimes there is a bit of shame, in the last few weeks I have been practicing and recording improvisations. When you are trying ideas for the first time peculiar things happen. Today for example, playing along with my eyes closed I could have sworn my fingers were at the 2nd fret but they were really at the 5th. Other times I began to play a line that was clear for the first few notes then got fuzzy, resulting in lots of clicks and confusion. At times I have taken the Miles Davis approach – “there are no mistakes”. I just repeat the click and try to make it a feature of the passage.

wilbeau picture
by wilbeau
on March 7, 2016

I had a very special experience while playing a concert on the weekend: it seemed like a good idea to open with an improvisation. The spontaneous creation led straight into the first programmed work winding up on the first note of the opening piece. Something told me to wait for the nervous energy to dissipate before moving into the official program. The transition worked remarkably well, putting me right into the zone where I could give maximum expression the to programmed work.

Class Axe Guitar Workshop: Call for proposals

February 27, 2015
Ontario

The Guitar Society of Toronto is working with CMC – Ontario to stimulate more compositions for solo classical guitar. We are currently accepting proposals for the second edition of the guitar composition workshop. The workshop is open to any Canadian composer, although the priority is to involve composers with limited experience writing for guitar. Interested composers can submit a proposal for consideration by May 22, 2015.




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SKU: CD-DM01
Call Number: CD 1629
Ensemble/Performer: Doug MacNaughton
Media Type: CD
Year of Release: 2014
Record Label: Independent

MacNaughton’s first self-produced album is an intimate, poetic journey. Guitarias includes compositions for voice and guitar (hence the name: guitar/arias) all performed by the singer accompanying himself: John Beckwith's Beckett Songs (three songs to poems of Samuel Beckett), Leslie Uyeda's Flower Arranger (a single song to a poem of Joy Kogawa), and William Beauvais' The Truth of Matter (four songs to poems of Linda Hogan), which were all commissioned by Doug MacNaughton.





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SKU: CD-EHCD1-14101
Call Number: CD 1626
Media Type: CD
Year of Release: 2013
Record Label: Independent

Critically acclaimed fingerstyle guitarist and composer Ed Henderson plays a concert of Carols and originals with passion.





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Saturday, September 28, 2013
Event Title: Romancero Gitano: Choir & Guitar
Description:

Vancouver Chamber Choir
Heiko Ossig, guitar
Jon Washburn, conductor

Join the Vancouver Chamber Choir for the opening concert of our 43rd concert series. The feature work is Mario Castelnuovo-Tedesco’s fiery "Romancero gitano", based on Spanish poems of Frederico García Lorca for which we are joined by our special guest artist - German guitarist Heiko Ossig. We celebrate the 70th birthday of BC composer Imant Raminsh with Latvian Folk Songs and explore other European colours through great choral music and poetry of Debussy and Charles d’Orléans, Hindemith and Rainer Maria Rilke, Rautavaara and even more García Lorca.