Michael Edwards was born in Cheshire, England in 1968. After taking oboe
lessons he began composing, studying with Adrian Beaumont at Bristol
University. He graduated with first class honors in 1989 and stayed on at
Bristol to complete a Master of Music degree which was awarded in 1992.
During this time he also studied privately with Gwyn Pritchard and Simon
Bainbridge, and undertook an investigation of electro-acoustic techniques.
Michael moved to California in 1991 for further studies in computer music
with John Chowning at the Center for Computer Research in Music and
Acoustics at Stanford University. He graduated from Stanford with a
doctorate in composition in 1996.
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flung me, foot trod takes its title from the Gerard Manley Hopkins sonnet,
"Carrion Comfort." This is urgent, violent, exciting poetry, but it was not
until I read some of Hopkins' own notes to the verse that I felt
particularly drawn to pilfering a title from him. He writes of one word,
"rude", that must be enunciated with force, "in an uncouth, violent,
barbarous manner." This, if anything, summarizes the articulation necessary
to interpret my piece. In preparing the tape, I sampled selected portions
of the solo part. In particular I concentrated on some of the more
unorthodox sounds an alto saxophone can make: key clicks, breath noise,
growling etc. For demonstrating these sounds I am very grateful to Gary
Scavone who gave freely of his time and tolerated my often outlandish
requests. Indeed, the whole piece is aimed at utilizing his slick
virtuosity. Armed with these samples, it was my intention to create sounds
that go far beyond the timbral qualities of the saxophone. Although the
tape sometimes presents recognizable saxophone sounds, on the whole it is
in its own sonic realm,marrying itself with the solo part only in its
presentation of similar material types (driving rhythms, scurrying textures
etc.). It was not my intention to create the effect of an "orchestra of
saxophones", or to have the saxophone play against itself on tape. On the
contrary, flung me, foot trod takes its precedent from the solo concerto,
pitting two unequal forces against each other, their only common ground
being material and, hence, structure. On the more technical side, the
samples were processed using Bill Schottstaedt's Common Lisp Music, the
note lists were created with Heinrich Taube's Common Music, and the mixing
was accomplished with Paul Lansky's Real Time Mixer application„all on the
NeXT computer.
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