by Nigel Westlake (2010)
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Each movement is named after a remote location on the east coast of Australia, places that hold a special meaning for me and that were visited during a huge time of upheaval in my life. They are locations of repose and meditation, and upon each site stands a shrine to the memory of my son Eli. The work begins very tentatively, reflecting as it does the building of the first shrine at Burning Point. On a pristine white beach, in the twilight of a magical tropical sunset, a family gathers shells & small flowers. In silence they arrange their offerings around a small photo of the departed, lighting incense & candles, which burn late into the night. Thus begins a practice of remembrance that will become a daily ritual over the coming months. On each occasion the shrines will become larger and more elaborate, and the places upon which they are built will become more remote & precarious. They are located within caves and crevices amongst peaceful inlets, tidal estuaries, coral beaches, and on rocky ridges upon the tropical islands overlooking the fringing reefs and deep blue waters of the Great Barrier Reef. Some of the shrines will be washed away by peak tides and cyclones, others will stand for hundreds of years. The music is sometimes reflective, as is the case for the movements Burning Point, Nara Inlet & Butterfly Bay, and at other times more extrovert, invoking a sense of energy & movement, as if marking the journey to these remote locations, a process that sometimes involved several hours of challenging bush walking through tropical rainforest and dry creek beds and the scaling of treacherous mountain peaks.
Duration: 22 min.
Program note: Nigel Westlake - Mosstrooper Peak for 2 Guitars
Mosstrooper Peak (Sonata for 2 Guitars) is a development of the “Sonata For Solo Guitar” (2010) commissioned by Timothy Kain. Based on an identical form as the original solo, the second guitar part has been added in order to amplify the resonances, augment the harmonic structure and share and ornament the melodies and textures, resulting in a tightly knit, intimate dialogue between the 2 instruments.
Performances of this work
14 Apr 13: Utzon Room, Sydney Opera House. Featuring Tim Kain.
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