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: email@example.com). 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.
While the composer recommends performance with 4.1 stereo surround sound where possible, there are three options for playback and performance of the digital audio part:
Option 1. 4.1 stereo surround
Option 2. stereo playback with subwoofer
Option 3. stereo playback
This Facsimile Edition includes a spiral-bound full score book for reference and study and a performance set that includes two saddle-stitched part booklets and an audio CD, which contains the stereo digital audio part played on a sound system for performance. Also available is the Data CD, which contains WAV audio files for both the 4.1 stereo surround and stereo playback with subwoofer performance options. This Data CD also contains stereo practice tracks, which includes a click track mixed into the digital audio part (not intended for performance).
About the work:
In the Fire of Conflict is named after the theme for the 2008 Toronto Summer Music Festival for which it was composed. Set in two continuous movements, the live cello and percussion parts are performed with the rap music in the digital audio part, sourced from American rapper Steve Henry a.k.a. 'Bugsy H.', of the Christian rap group Poetik Disciples. The two live instruments weave constantly around the rap lyrics, often drawing melodic contours from the prosodic contours of the spoken text.
Reflecting on this commission, the composer writes: ‘I was becoming very concerned with the rise of gun violence in recent years in Toronto, my home city, but also with the constant rise of violence around the world in either organized conflicts, such as war, or spontaneous eruptions, exacerbated no doubt by food shortages, global warming and demographic explosion particularly in areas where daily survival is most difficult, and by the diminishing hope among the majority of people alive today that our current way of life can continue in its present form indefinitely.’