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- Quartets for Low Brass, Vol. 3 Fanfares and Anthems
Instrumentation: Solo and CD
Genre: EntertainmentRock drums, symphony orchestra, epic themes. Easy to play with a well produced synth track. Learn More
As low as $15.00
Instrumentation: Solo and Electronics Instruments: Euphonium
Benoit Mandelbrot was a mathematician known for his ideas about "the art of roughness," or chaos in nature. He is more widely known today for his fractal images, which have gone on to inspire many amazing works of math-art. I've personally been drawn to fractal imagery for a number of years, and as I listened to this nameless piece during the writing process, my inner-eye kept being drawn back to shifting, flowing fractals. Mandelbrot’s Dream is written in three continuous sections:
1. Catch You On The Flip Side
2. And Goodbye
3. Fractus Metallum
The first section is a chilled-out stroll through an urban, fractal cityscape, displaying the euphonium’s agility. The second section uses elements of jazz and rock in a slightly cinematic style, inspired by the works of composer Marty O’Donnell. In the final section (translating from Latin to ‘Fractal Metal’) features rhythmic and melodic elements of metal. In keeping with the celebration of Mandelbrot's work in chaos, the piece climaxes into aural chaos, the bass trailing off like the final spiraling wisp of some kaleidoscopic dream…
Commissioned By X Gail Robertson, Jesse Orth, Preston Light, Irving Ray, Anthony Achille, AJ Miller, James Green, Ian Lester, Pat Stuckemeyer, Micah Everett, Adam Frey, David Salomon Galan Jr., Erik Lundquist, Will Hess, Bo Atlas, Richard Concepcion, Bente Illevold, Jason Gilliam, Zach Eberle, Amanda Cardwell, Seth Fletcher, Chasse Duplantis, Fernando Zuniga, Phil Beatty, Aaron Tindall, Danny Helseth, Bryan Cole, Chris Buckley.
Instrumentation: Solo Instruments: Tuba
with CD or MP3 download
HoUsE miX was composed in September-October of 1995 at the request of tubist Jeffrey Funderburk. The recording of the electronics part provides the first three beats of measure one and then the tubist begins – in time – on the second eighth note of the fourth beat in measure one (marked * in the score). As to the title, it was my intention in writing this piece to emphasize the electronic nature of the accompaniment rather than to try and disguise it. In borrowing materials and gestures from the language of 1990s techno dance music, I also sought to borrow one of its structural conceits: the sharp juxtaposition of diverse materials (represented by the mash-up of upper- and lower-case letters in the title). Jeffrey Funderburk has recorded HoUsE miX on his second solo CD, Journeys (Mark Records #3176).