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401:, the composition is in E. However, according to the composer, the "static material", that is, the tonal center of the composition gravitates towards a six note melody, G#-A-D-C#-B-E, which is never varied or transformed, but rather put in different context. The rhythmic pulse of the composition is based on a constant, insisting line formed by
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This is the longest composition in the set, taking approximately 15 minutes to perform. It is scored for an orchestra which consists of a flute, two oboes, a clarinet in B-flat, two bassoons, three horns in F, a trumpet in B-flat, timpani, a set of strings and a synthesizer. Torke clarifies that the
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The composition is in F minor, and is the only composition in the set which modulates to another key. In this case, given its overt neoclassical nature, it modulates to A-flat major in some instances, only to return to F minor shortly after. In this case, color is not a preoccupation of Torke and it
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on June 11, 1987. It is the shortest composition in the set, lasting around six minutes. Scored for three flutes, two oboes, an
English horn, two clarinets in A, one bass clarinet in B-flat, two bassoons, four horns, three trumpets, three trombones, a tuba, timpani, a harp, a piano, a string section
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Even though Torke wrote many more pieces with color titles, the suite consists only of five compositions, written between 1984 and 1988. The order of the movements in this suite has not been established, as the compositions were originally conceived separately, and have not been published together.
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This composition takes approximately 11 minutes to perform, and is score for piccolo, two flutes, two oboes, two clarinets in B-flat, two bassoons, four horns in F, a trumpet in D, two trumpets in B-flat, three trombones, a tuba, a piano, four timpani, a whole set of strings and a large percussion
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In this disposition, Torke associates E major, which is the invariable key of this composition, to the green color. The melody is a simple consecution of the notes F#-A-D#-E-B. This melody is maintained without changed, in different context, but always conveying the same idea. The tempo is much
454:
The composition takes approximately 9 minutes to perform, and is scored for three flutes, two oboes, two clarinets in B-flat, two bassoons, four horns in F, three trumpets in C, three trombones, a tuba, timpani, a piano, a harp, a string section and a large percussion section, which takes four
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section. Along the piece, color headings appear in the score, entitled "Absinthe", "Apricot, "Terra Cotta", "Unripe
Pumpkin", "Copper", etc. These headings refer to the different shades of orange experienced by the composer. As all the movements in this suite, this composition is monothematic.
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The composition takes around 12 minutes to perform and is scored for three flutes, two oboes, and
English horn, two clarinets, a bass clarinet in B-flat, two bassoons, four horns, three trumpets, three trombones, a tuba, timpani, a string section and a percussion section, which takes three
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Certain musical ideas make me think of colors. This personal synesthesia contributed its own vibrancy to my attitude towards the material. In the end, different shades of paint splash around the orchestral forces, but it is always some hue of
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The composer associates the key of this composition, which is D major, to the blue color since he was five years old. Rhythmically, this composition is based on sixteenth notes, as his previous compositions
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296:, he decided to start an early series of compositions "to celebrate without modulation a single color". As Torke himself puts it in the original program note for
596:, on February 3, 1989. Given that the commissioner was a chamber orchestra, this is the only piece in the set that does not require a large orchestra.
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The different compositions have been well received by critics. The use of a post-minimalist style has been praised in virtually all the compositions.
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label is merely a name to refer to the compositions included in it, and has been used in recordings, but not in its original publishing house,
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synthesizer's timbre is flexible, although a bass sound with a percussive edge, buzz and reinforced pitch is recommended.
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is monothematic and highlights the brass, which give importance to the syncopating character of the piece.
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Colourful
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and was premiered on May 16, 1985. The premiere was carried out by the
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does not have an important role, as it did in the other movements.
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1063:. London, England: Decca Music Group Limited. p. 5.
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When
Michael Torke was studying musical composition in
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and a percussion section taking three percussionists,
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faster than in the previous movements. As opposed to
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523:Specifically composed to be included in the ballet
513:percussionists. This composition is monothematic.
782:"Torke, Michael: Bright Blue Music for orchestra"
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423:. It was premiered by this same orchestra under
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477:and was first performed by the
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44:Movement IV: F-sharp major
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91:18 July 1985
594:John Adams (composer)
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529:, which included the
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390:. It is dedicated to
376:Brooklyn Philharmonic
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276:by American composer
165:16 May 1985
42:Movement III: E major
1134:List of compositions
543:New York City Ballet
491:Milwaukee, Wisconsin
207:Milwaukee, Wisconsin
40:Movement II: D major
1078:. Boosey and Hawkes
1013:on 12 February 2015
979:. Boosey and Hawkes
929:on 12 February 2015
871:. Boosey and Hawkes
845:on 12 February 2015
784:. Boosey and Hawkes
758:on 12 February 2015
697:. Boosey and Hawkes
674:on 12 February 2014
586:St. Paul, Minnesota
465:Initially entitled
378:under the baton of
239:St. Paul, Minnesota
46:Movement V: F minor
1040:. Rovi Corporation
956:. Rovi Corporation
898:. Rovi Corporation
811:. Rovi Corporation
724:. Rovi Corporation
55:Neoclassical music
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578:Jerome Foundation
499:Bright Blue Music
437:Boosey and Hawkes
425:David Alan Miller
414:Bright Blue Music
372:Meet the Composer
334:Boosey and Hawkes
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1160:(1984–1988)
1157:Color Music
1082:12 February
1044:12 February
1017:12 February
983:12 February
960:12 February
933:12 February
902:12 February
875:12 February
849:12 February
815:12 February
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762:12 February
728:12 February
701:12 February
678:12 February
330:Color Music
282:synesthesia
265:Color Music
22:Color Music
1317:Categories
642:References
547:Lukas Foss
483:Lukas Foss
380:Lukas Foss
355:Ash (1988)
288:Conception
233:1989-02-03
217:1987-06-11
201:1986-11-20
185:1985-11-23
169:1985-05-16
103:1985-09-01
95:1985-07-18
608:Reception
588:, by the
323:Structure
274:orchestra
246:Movements
160:Performed
1268:Category
616:See also
592:, under
308:—
65:Composed
1281:Portals
1231:Related
1173:Javelin
553:in the
549:at the
427:at the
305:orange.
254:Scoring
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1176:(1994)
1168:(1987)
1152:(1984)
1149:Vanada
560:Purple
539:Purple
518:Purple
503:Purple
449:Vanada
1307:Music
1141:Works
531:Green
489:, in
471:Green
460:Green
368:ASCAP
51:Genre
1208:Echo
1084:2015
1046:2015
1019:2015
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962:2015
935:2015
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851:2015
817:2015
790:2015
764:2015
730:2015
703:2015
680:2015
533:and
505:and
447:and
370:and
272:for
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125:1987
116:1986
112:1986
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634:Ash
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507:Ash
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382:at
35:Key
27:by
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