2019 string quartet duration: 7 minutes
Excerpt:
My compositional fascination with musical canons began in the early 1970s with study (at the University of Michigan) of Ockeghem’s 15th-century polyphony, the 10 canons in Bach’s 18th-century The Musical Offering, and Webern’s 20th-century Symphonie Op.21. As a young professor in the 1980s teaching 16th-century counterpoint at what was then North Texas State University (now UNT), I used canon as a challenging contrapuntal writing assignment. In 1985, a wind ensemble piece, Parallel Horizons (Homage to Schoenberg), was my first formal composition constructed by canon. In Dark Matter, other contrapuntal writing surrounds an extended canon.
According to Wikipedia: “Dark matter is believed to be a form of matter thought to account for approximately 85% of the matter in the universe and about 27% of its total mass–energy density. Its presence is implied in a variety of astrophysical observations, including gravitational effects that cannot be explained by accepted theories of gravity unless more matter is present than can be seen. For this reason, most experts think that dark matter is abundant in the universe and that it has had a strong influence on its structure and evolution. Dark matter is called dark because it does not appear to interact with the electromagnetic field, which means it does not absorb, reflect or emit electromagnetic radiation, and is therefore difficult to detect.”
To request performance materials and permission, email the composer, tc24@txstate.edu.
Thomas Clark - composer / digital artist 