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Scoring

picc.2.2.corA.2.bcl.2.dbn-4.3.2ttrbn.btrbn.1-timp-perc(3):vib/large susp.cym/large Tibetan singing bowl/large tam-t/BD/low tom-t/high tom-t/SD/large Tibetan singing bowl/large tam-t/marimba/SD/large Tibetan singing bowl-harp-pft-strings

Abbreviations (PDF)

Publisher

Boosey & Hawkes

Territory
This work is available from Boosey & Hawkes for the world.

World Premiere
8/5/2016
Santa Cruz Civic Auditorium, Santa Cruz, CA
Cabrillo Festival of Contemporary Music / Marin Alsop
Composer's Notes

In creating RIFT, myself and choreographer Kitty McNamee, have used music and dance as a voice to reflect upon the chaos and destruction that is so prevalent in the world today.

Whilst RIFT is presented in one large brushstroke, we have, in our imaginations, divided the journey into three acts.

Act 1 – dust
A song of reflection - a meditation on the sadness, which, throughout this act, escalates into a chaotic mass of sound that snaps into Act 2.

Act 2 - water
Covered in the dust of destruction from Act 1 we now move into a more ethereal world of rituals. A snaking duet emerges from the ruptures that sever Act 1 and introduce Act 2, which is then interrupted by a wild outburst of energy. From here, we move into a more serene ritual - bathed in water, softly washing away the dust and debris.

Act 3 - space
From this cleansing we are then propelled back in time to a period of more refined and orderly beauty - a sacred and harmonious space. From here we are then propelled into the future where, through our journey, we find ourselves in a more optimistic sonic and visual world.

We would like to express our deepest thanks to Marin Alsop and the staff and musicians at the Cabrillo Festival for offering such a wonderful opportunity to create this work.

Press Quotes

“The evening opened with a wonderful 20-minute piece by Clyne, titled “Rift” (2016), which murmured and pulsed lyrically and earthly, sounding like something you’ve always known but forgotten.” —Washington Post

“Even in this dance-focused work, Clyne boldly pushes the symphonic tradition forward.” —Texas Classical Review

“Performed without pause, its three sections explore sonic slithers, stabbings, pacings, clatters and cataclysms, but also suggestions of exotic chants and even English folksongs. A couple of passages almost suggest pastoral music of Ralph Vaughan Williams.” —Dallas News


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