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in preparation

Die Kreuzung

in preparation

Die Kreuzung

(A Crossbreed)


  • Instrumentation: alto shô or accordion, alto saxophone and double bass
  • Edition: performance score
  • Order No.: ED 9684

Availability: Out of stock

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description

Kafka's story with the same name was the impetus for this piece. The story, about a strange animal (half cat / half sheep) reflects on the fragility and absurdity of such an existence. The story evokes a question - a mystery which is both haunting and irresolvable. In the trio, I attempted to find a way to construct a form which would call into being, a question - a mystery. By creating a counterpoint of hinted and implied continuities and laying a net of impossible relationships between the micro and macro levels of the piece, a gap is activated and left unresolved.

The three instruments are combined to become one composite instrument. For instance, the second part of the piece is constructed of "etudes," "songs," and "dreams." In each etude, the composite instrument works systematically on a specific technical difficulty. Each one of these technical difficulties originally occurred in the songs, which are themselves unsystematic, expressive, and free. The dreams are moments where the new composite instrument ceases to exist, and where each member of the trio returns to independent play, that is, to being an u, an alto saxophone, and a double bass. The songs, etudes, and dreams are superimposed unsystematically so that on immediate encounter, a web of indecipherable relationships may unfold. The piece is dedicated to Brian Ferneyhough. - Chaya Czernowin

Details
Difficulty: difficult
ISMN: 979-0-001-13598-6
Performance duration: 11'0"
Publisher: Schott Music
Uraufführung : 1995 Tokyo (J) · Mayumi Miyata, Shō; Takashi Saito, alto saxophone; Keizo Misoiri, double bass
Year of composition: 1995
Performances
2016-06-14 | Tokyo (Japan), Hokutopia
2013-09-14 | Luzern (Switzerland), Lukaskirche — 11:00
2013-05-22 | St. Petersburg (Russia), Moskovsky prospect 107 building 5, 4th floor
2013-02-23 | Moscow (Russia)
2013-02-12 | Graz (Austria)
2011-04-15 | New York, NY (United States of America), Miller Theater
2010-02-26 | New York, NY (United States of America), Tenri Gallery
2009-12-31 | Tel Aviv (Israel)
2009-12-29 | Haifa (Israel), University
2009-03-07 | Basel (Switzerland), Imprimerie
Conductor: Wolfgang Hattinger
2009-01-17 | Wien (Austria), Alte Schmiede — 16.00 Uhr
Conductor: Wolfgang Hattinger
2008-12-04 | Graz (Austria), Kunstuniversität Graz — 19.00 Uhr
Conductor: James Avery
2006-12-18 | Basel (Switzerland), Theater — 20.00 Uhr - Portraitkonzert Chaya Czernowin
2006-09-09 | Rümlingen (Switzerland), Kirche — 17.30 Uhr
2006-06-26 | Freiburg (Germany), Elisabeth-Schneider-Stiftung
Conductor: Manfred Schreier
2004-10-08 | Mülheim/Ruhr (Germany), Petrikirche
2004-01-21 | Berlin (Germany), Rundfunk Berlin-Brandenburg, Kleiner Sendesaal
1995-01-01 | Tokyo (Japan) | World Premiere

Kafka's story with the same name was the impetus for this piece. The story, about a strange animal (half cat / half sheep) reflects on the fragility and absurdity of such an existence. The story evokes a question - a mystery which is both haunting and irresolvable. In the trio, I attempted to find a way to construct a form which would call into being, a question - a mystery. By creating a counterpoint of hinted and implied continuities and laying a net of impossible relationships between the micro and macro levels of the piece, a gap is activated and left unresolved.

The three instruments are combined to become one composite instrument. For instance, the second part of the piece is constructed of "etudes," "songs," and "dreams." In each etude, the composite instrument works systematically on a specific technical difficulty. Each one of these technical difficulties originally occurred in the songs, which are themselves unsystematic, expressive, and free. The dreams are moments where the new composite instrument ceases to exist, and where each member of the trio returns to independent play, that is, to being an u, an alto saxophone, and a double bass. The songs, etudes, and dreams are superimposed unsystematically so that on immediate encounter, a web of indecipherable relationships may unfold. The piece is dedicated to Brian Ferneyhough. - Chaya Czernowin

Difficulty: difficult
ISMN: 979-0-001-13598-6
Performance duration: 11'0"
Publisher: Schott Music
Uraufführung : 1995 Tokyo (J) · Mayumi Miyata, Shō; Takashi Saito, alto saxophone; Keizo Misoiri, double bass
Year of composition: 1995
2016-06-14 | Tokyo (Japan), Hokutopia
2013-09-14 | Luzern (Switzerland), Lukaskirche — 11:00
2013-05-22 | St. Petersburg (Russia), Moskovsky prospect 107 building 5, 4th floor
2013-02-23 | Moscow (Russia)
2013-02-12 | Graz (Austria)
2011-04-15 | New York, NY (United States of America), Miller Theater
2010-02-26 | New York, NY (United States of America), Tenri Gallery
2009-12-31 | Tel Aviv (Israel)
2009-12-29 | Haifa (Israel), University
2009-03-07 | Basel (Switzerland), Imprimerie
Conductor: Wolfgang Hattinger
2009-01-17 | Wien (Austria), Alte Schmiede — 16.00 Uhr
Conductor: Wolfgang Hattinger
2008-12-04 | Graz (Austria), Kunstuniversität Graz — 19.00 Uhr
Conductor: James Avery
2006-12-18 | Basel (Switzerland), Theater — 20.00 Uhr - Portraitkonzert Chaya Czernowin
2006-09-09 | Rümlingen (Switzerland), Kirche — 17.30 Uhr
2006-06-26 | Freiburg (Germany), Elisabeth-Schneider-Stiftung
Conductor: Manfred Schreier
2004-10-08 | Mülheim/Ruhr (Germany), Petrikirche
2004-01-21 | Berlin (Germany), Rundfunk Berlin-Brandenburg, Kleiner Sendesaal
1995-01-01 | Tokyo (Japan) | World Premiere