| Composition Year | 2010 |
|---|---|
| Genre Categories | Pieces; For flute, oboe, clarinet, bassoon, horn, 2 percussion, harp, violin, viola, cello, double bass, piano; Scores featuring the flute; |
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| Work Title | In una rete di linee che s’intrecciano |
|---|---|
| Alternative. Title | |
| Composer | Nobles, Jordan |
| I-Catalogue NumberI-Cat. No. | IJN 9 |
| Year/Date of CompositionY/D of Comp. | 2010 |
| First Performance. | 2011-01-04, Toronto, Music Gallery, Aventa Ensemble, Bill Linwood, dir. |
| First Publication. | 2011 |
| Dedication | Dedicated to Italo Calvino |
| Average DurationAvg. Duration | 8 minutes |
| Composer Time PeriodComp. Period | Modern |
| Piece Style | Modern |
| Instrumentation | for spatialized chamber ensemble |
In una rete di linee che s’intrecciano for spatialized chamber ensemble Jordan Nobles Dedicated to Italo Calvino
ABOUT THE PIECE In una rete di linee che s’intrecciano was finished in December 2010 in North Vancouver. The duration of the piece is 8 to 9 minutes.
PROGRAMME NOTES In una rete di linee che s'intrecciano (In a Network of Lines that Intersect) is my favourite chapter of my favourite book by Italo Calvino - If on a Winter's Night a Traveler. In this chapter a wealthy businessman, with an obsession for kaleidoscopes and mirrors, finds himself trapped in a hall of mirrors of his own devising, unable to determine anymore the difference between reality and reflection. I used another piece of mine Simulacrum as the basis for this piece but trapped it in its own hall of mirrors where the lead line and its reflections are often interchangeable and confused.
PERFORMANCES NOTES • This piece is to be performed freely and expressively. Exact synchronization is not required. • The notation is somewhat proportional. • The fermatas at the end of certain systems should not be too long, just a moment to wait until everyone is ready to proceed. The piece should continue moving. • Accidental markings apply to all subsequent incidences of the note in the same system unless cancelled by another accidental. • All phrases, whether the solo line or not, should be performed with much expression; as if they were the most important melody in the piece.
Solo Line • A single melodic solo line runs throughout the piece and acts as a thread to keep everyone together. • Each performer takes their tempo from the soloist performing the line which is on a cue staff in all of the parts. • In order for the ensemble to stay together the solo line should always be slightly above the general dynamic. • Most instruments take turns performing a fragment of this solo line but when not doing so should perform, as accurately as possible, their material in time with (i.e. vertically in line with) the soloist. • Therefore a conductor is not necessarily required for performance but may be a good idea during rehearsals to move the piece along while the performers get comfortable following the solo line and taking their cues from it.
