In the Natural Doorway I Crouch
- Paul Dolden
- Year of composition: 1986-87
- Duration: 15:01
- Instrumentation: stereo fixed medium
- Commission: GMEB
In the Natural Doorway I Crouch is inspired by the interaction of the two distinct sound worlds: plucked metal strings, and wind instruments. The composition is divided into three sections of 3, 5 and 7 minutes, each of which explores the relationship between the sound worlds as they are constantly changing. This movement in sound is evoked by the title which suggests the transformations from one state to another, as in a doorway that acts as a passageway between areas of sound. In most cases, the crouching is only momentary as we spring from one area to another. The tuning of the composition involves a system of Just Intonation, developed by the composer, in which the harmonics of the fundamental(s) are systematically changing register in relation to each other.
Clemens Rettich: recorders
Ken Newby: oboe, bassoon, soprano saxophone
Paul Dolden: acoustic guitar, double bass, piano, percussion, tubular bells, vibraphone, slenthem, saron, marimba
In the Natural Doorway I Crouch was realized in 1986-87 at the composer’s studio and at the Sonic Research Studio of Simon Fraser University (SFU) (Vancouver, BC). Research was completed in the Groupe de musique expérimentale de Bourges (GMEB — now IMEB — France) studios and at the EMS (Stockholm, Sweden). The work was premiered on January 31, 1988 during the international festival En Torno a los Sonidos Electrónicos in Mexico City (Mexico). The piece was commissioned by the GMEB. A further commission from the Vancouver New Music Society resulted in Measured Opalescence, a mixed version of this work for piano, percussion and tape. In the Natural Doorway I Crouch won 1st prize in the Electroacoustic category of the Bourges International Electroacoustic Music Competition (Bourges, France, 1988).
- January 31, 1988, En Torno a los Sonidos Electrónicos, Museo Tamayo, Mexico City (Mexico)
In the Natural Doorway I Crouch (1986-87, 15:01) by Paul Dolden