Partition complète et parties, pour Dark Tower, Childe Roland to the Dark Tower Came

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Travaillez les partitions de morceau pour Dark Tower partition complète et parties, pièces, composition de Harris, Ian Keith. La partition de musique moderne dédiée aux instruments comme: hautbois d’amore (anglais cor) et Piano
La partition propose 1 mouvement et est classée dans les genres pour hautbois damore, piano, pour anglais cor, piano, partitions pour piano, pièces, partitions pour anglais cor, partitions pour hautbois damore, pour 2 musiciens
Obtenez encore d'autres musique pour hautbois d’amore (anglais cor) et Piano sur YouScribe, dans la catégorie Partitions de musique variée.
Rédacteur: Jennifer Paull
Edition: Amoris International. Edition AI SI 028.
Dédicace: For Jennifer Paull

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IAN KEITH HARRIS








THE DARK TOWER

Childe Roland to The Dark Tower Came

Oboe d’amore (Cor anglais) & Piano












SI 028 Ian Keith Harris
(1935-)
Australian composer, arranger, oboist, music educator, critic and eclectic musician,
Ian Harris, was born in Melbourne in 1935, living there for the first 26 years of his
life. He started the piano at the age of five and three years later was playing cornet in
his school band. He took up the violin shortly after this, playing for several years, but
relinquished it when he became his school pianist at thirteen. The oboe came next,
and in 1953, he began his Bachelor of Music degree at Melbourne University
Conservatorium of Music taking piano as chief study and oboe as second. National
Service in the Army intervened and, this time, Ian Harris played the trombone in the
University Regiment. The same year, he changed to oboe as his chief study. The
trombone did not impress Jiři Tancibudek, his professor! This time, the piano was his
second study and composition (Arthur Nickson) crept in too.
Not surprisingly he was soon in demand as a free-lance orchestral musician, arranger
and copyist, working in a very eclectic mix of musical spheres from arranging for
Eartha Kitt (television and various theatrical shows), to playing in opera, ballet,
chamber music and symphony orchestras. He was a founding member of the
Glendenian Trio, (flute, oboe, bassoon), which gave regular broadcasts over several
years. The trio was another area in which his skills at arrangement were frequently
employed.
Ian Harris moved to Hobart, Tasmania, in 1961 (Tasmanian Orchestra), was
seconded to the Sydney Symphony Orchestra (cor anglais) for several months,
returned to Tasmania only to be seconded again, this time to the Victorian Symphony
Orchestra (oboe).
Back again in Tasmania, his next move was to Wellington, New Zealand (1965-
1974) to join NZBCSO (the New Zealand Broadcasting Corporation Symphony
Orchestra) as Principal Cor anglais. During this time, in which he yo-yoed across
Australasia, Harris tutored at the universities of Tasmania, Melbourne, and the
Victoria University of Wellington. It was at the latter that he completed his degree in
composition (with David Farquhar) in 1969. He was to return yet again to Tasmania
at the end of 1974.

However, this time, he embraced a new career as a music educator with his move. His
wealth of instrumental and orchestral experience was invaluable to his students. He
also conducted the Tasmanian Junior Youth Orchestra for several years.

Harris was a dedicated member of policy committees, especially in Education and the
Arts. A great listener to music and musicians, he served as music critic for The
Mercury, Hobart’s daily newspaper, for several years.


His oeuvre consists mainly of chamber music, much of which has been performed and
broadcast: Microsymphony for Cor anglais Quartet (cor anglais, string trio), Oboe
Quartet (oboe, string trio), Essay for Bassoon and Strings, Sonata for Viola and Piano,
amongst many other pieces and numerous arrangements for broadcasts and concerts.

His sense of fun has shown in many of his compositions including, A Piece with
Strawberry Jam, The Little Dog's Day (Rupert Brooke), ’Paw de trois’- Three Dances for
Canines (for Woodwind Quintet, with movements dedicated to his dogs by name), The
Whitebait Fishers –

“A sort of Donizetti-like spoof for harpsichord, string quartet and small
choir, for which the producer of the hour-long national radio show penned
the libretto for this, a special anniversary broadcast of the programme.”

Harris orchestrated songs for symphony concerts, including a version of The Last Rose
of Summer for Rita Streich (1920-1987). He also wrote, directed and even performed
in advertising jingles, playing celesta, oboe, cor anglais or whatever was required.

Ian Harris moved back to Sydney definitively in 2000 and has since devoted himself
to composition and a considerable entourage of cats (10) and dogs (5). He is a keen
gardener and chef and a passionate enthusiast of the oboe d’amore. A close friend of
Jennifer Paull, he has written many works for her.









The Dark Tower

Childe Roland to the Dark Tower Came

Oboe d’amore (Cor anglais) & Piano

SI 028 


Childe Roland to the Dark Tower Came ( published in the volume Men and
Women [1855] a collection of fifty-one monologue poems ) by Robert
Browning ( 1812 – 1889 ) was my inspiration for this piece, which I conceived for oboe d’amore (cor anglais) and piano. Browning’s vision of
the wasteland heralds T.S. Eliot’s The Waste Land and many other
modernistic works.

When I first read it as a teenager, the poem evoked mystical knights in
the days of chivalry, challenging evildoers to single combat – good over ill.
Its title and inspiration are taken from the song sung by Edgar in
Shakespeare’s King Lear. I read it as an adventure of the intrepid
apprentice Knight seeking to challenge the evil beast of the Dark Tower.
Now, several decades later, the poem still fascinates me but it holds within
a somewhat different meaning.  
 
Childe Roland's quest takes him through a nightmare of ever-increasing
despair and depression: through a dark marshy wasteland, filled with
horrors and frightening sounds, which all magically change as he proceeds,
dissolving into unreality when he looks back upon them. We can identify
with him as he progresses.
 
Fighting discouragement, futility and fear, he reaches the Dark Tower
where he sounds his horn. The last couplet of the final stanza reads
 
 
‘Dauntless the slug-horn to my lips I set, 
And blew, ‘Childe Roland to the Dark Tower came.’
 
 
I have not attempted to evoke the story as it reflects upon the ugly scenery
and hellish journey it portrays, but rather to encapsulate its mood. The
piano part is constructed using a twelve-note tone row, which I have
overlaid at all times with its retrograde, and then inverted, producing a
'doubled-up' tone row in chromatic sequences through all twelve
semitones. The solo line, while built mainly of the same material, is
independent throughout and from the last section of the work - entirely
free.

Ian K. Harris
2010 

Other works by Ian Keith Harris can be found listed at

www.amoris.com for Jennifer Paull
THE DARK TOWER
Childe Roland to the Dark Tower Came
Ian Keith Harris
( b. 1935 )
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AI SI 0284
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AI SI 0286
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AI SI 028