“When the amp’s cranked up, the perception of the material by the senses is certain and positive only insofar as the materials remain completely raunchy and powerful and do not develop centrifugul forces. Like combining chemicals which are pretty volatile on their own, when you put them together you can tear muscles and be explosive. This residual gesturality is a street level kind of a thing; it does not stifle the small amount of what is retained, but it is amalgamated with our favourite band of all time. And this does not express desperation or impotence; on the contrary, it is another step in furthering the goal of putting more dirt under the fingernails of the collective unconscious of Canada — a reality immediately attained after the overthow of of all senses. Playing loud and fast is supposed to be unfashionable, but meat and potatoes still tast good and the ground beneath our feet is a matter not so much of landscape as of offering the possibility of travel.”

— Andrew Czink, Paul Dolden [95]

The Heart Tears itself Apart with the Power of its own Muscle. Resonance #3 was realized at the composer’s studio in 1995 and premiered during the concert Électronie by the Ensemble de la SMCQ — conducted by Walter Boudreau — on June 8, 1995 at Salle Pierre-Mercure in Montréal. The piece was commissioned by SMCQ with support form the Canada Council for the Arts (CCA). The work was extremely revised in 1997 and this new version premiered on October 5, 1997 by Esprit Orchestra — conducted by Alex Pauk — in Toronto.

Composition

• 1995, Personal studio, Vancouver (British Columbia, Canada)

Revision

• 1997, Personal studio, Vancouver (British Columbia, Canada)

Premiere

• June 8, 1995, Électronie, Salle Pierre-Mercure — Centre Pierre-Péladeau, Montréal (Québec)