A facsimile copy of the composer's manuscript of this work is available for purchase as a performance set for performance and study. This material is a copy of the original composer's manuscript and is not edited or formatted for publication. This service is only available to individuals and may not be resold. (Retailers, trade customers, institutions and libraries with requests for this work, please advise your customers and patrons to contact us directly for availability: firstname.lastname@example.org). The provision of this service, and/or circulation of copies of the manuscript, does not constitute the copy as a publication or published edition under the New Zealand Copyright Act 1994.
This Facsimile Edition includes a spiral-bound full score book for reference and study and a performance set that includes a saddle-stitched performance score booklet and an audio CD containing the digital audio part that is played on a sound system for performance.
About the work:
Equivoque is the second piece in an ongoing series of compositions based on J.S.Bach’s The Art of the Fugue collectively entitled Spring Equinox, and it was written for the occasion of Bach’s 300th birthday in 1985. This version for harpsichord and tape is an adaptation of the original for accordion and tape.
The composer writes ‘Equivoque is a palimpsest of Contrapunctus XII, the first of four two-part canons in the The Art of the Fugue. Basic melodic line, formal structure and tonal evolution are the same in both works, but, whereas Contrapunctus XII is entirely in D minor, Equivoque constantly fluctuates between the original key and that of A-flat minor, tonally the most distant key to D minor. As the title suggests, there is an equivocal treatment of the two tonalities. The two keys are like red and green, image and afterimage; they do not mix, yet they are complementary. There is no linear, “qualitative” modulation from one to the other, but rather a quantitative process of coexistence with various degrees of balance between the opposing tonal forces. One key is pitted against the other and both are struggling for possession of the tonal center. This causes a disturbance to the listener's sense of acoustical perspective, not unlike the kind of disturbance on experiences with some of the engravings and lithographs of M.C.Escher, an artist whose work has considerably influenced my own, particularly in this series of compositions.’