With Convergence I wanted to create a piece that was inherit to an instrument whose history to most people is commonly associated with fun, dance, drinking and local cultural events, combined with my own experiences as a composer. Convergence is in three movements and the tape section is mainly made from recordings of instruments from non-Western cultures and some electroacoustic sounds.
Convergence. The accordion sounds like a runaway ambulance, reminding us that somewhere, someone is having the worst day of their life. An accelerating drum roll heats up this carnivalesque venture into the night side. It races us towards a gallery of fun house mirrors where the almost melody bends and breaks before finding itself again, not in the truth of the reflections, but in their framings. Polkas cut out of barbed wire turn to a hobbled sort of folk music, drunken and off centre, each instrument moving towards an independence in song, moving in their own direction, before a savage and irresistible invocation to dance cuts through the mix. Joining and dissolving dissonance. Conflict. It asks: will you dance?
Convergence was realized at the composer’s studio in 1998. It was commissioned by accordionist Joseph Petric with support from the Ontario Arts Council. Thanks to recorded musicians Peter Stoll (clarinet and bass clarinet) and Kevin Breit (guitar, mandolin and banjo).
empreintes DIGITALes / IMED 9948, IMED 9948_NUM / 1999