Time Will Pronounce

Infobox Album
Name = Time Will Pronounce
The 1992 Commissions
Type = studio
Longtype =
Artist = Michael Nyman


Cover size = 200
Caption = photo by John Bellars
Released = June 1, 1993 (UK)
September 14, 1993 (USA)
Recorded = June 12, 1992, St. Augustine's Church, Kilburn [1]
October 19, 1992, Abbey Road Studio 1, London [2]
November 19, 1992, St. Michael's Church, Highgate [3]
November 21, 1992, Abbey Road Studio 1 [4]
Genre = Contemporary classical music, chamber music, Minimalist music, art song
Length = 64:21
Language = English
Label = Argo
Director =
Producer = Michael Nyman, Michael J. Dutton
Reviews = Allmusic Rating|4.5|5 [http://www.allmusic.com/cg/amg.dll?p=amg&sql=10:jpfpxqt0ldse]
Compiler =
Chronology =
Last album = The Essential Michael Nyman Band
1992
This album = Time Will Pronounce
1993
Next album = The Piano
1993
Misc =

"Time Will Pronounce: The 1992 Commissions" is a 1993 album by Michael Nyman, his eighteenth release. Nyman does not actually perform on the album, but he composed all the music, produced it, and wrote the liner notes. The album contains four tracks, each track a different work. The album is dedicated to the memory of Tony Simons, "friend, manager, and generous and courageous survivor." The album is named for the second and longest of the four works, the only one featuring a former member of the Michael Nyman Band, Elisabeth Perry.

elf-laudatory hymn of Inanna and her omnipotence

13:55

James Bowman, countertenor

Fretwork
*William Hunt, treble viol
*Richard Campbell, treble viol
*Julia Hodgson, tenor viol
*Wendy Gillespie, bass viol
*Richard Boothby, bass viol

*Assistant engineers: Alex Marcou & David Forty

Inanna is the Queen of the Heavens in the Sumerian religion. Nyman found the text on February 12, 1992 in a translation by Samuel Noah Kramer in "Ancient Near Eastern Texts Relating to the Old Testament" edited by James B. Pritchard (3rd edition with supplement, Princeton University Press, 1969), in the personal ibray of an Armenian friend. In the hymn, Inanna speaks proudly of all that her father, Enlil, has given her, and it takes the form of a list. Its audacity, shamelessness, and repetitive structure appealed to him, and thought it would be suitable for James Bowman's voice. He became even more interested in setting the work when he learned that Inanna is well-known deity embraced by many feminists, and not obscure, as he had initially thought. Indeed, she superseded all Sumerian deities, male or female, by the end of the Sumerian civilization. [Michael Nyman. "Time Will Pronounce" liner notes. 1993. p. 10.] In spite of the last stanza of the piece being the most repetitive, Nyman chose to use cadential diversity rather than repetition.

The work premiered June 11, 1992 at Christ Church, Spitalfields in London. The recording was made the following day at St. Augustine's Church.

Time will pronounce

20:35

Trio of London
*Elisabeth Perry, violin
*Melissa Phelps, cello
*Julia Jacobson, piano

*Assistant engineer: Chris Ludwinski

The title of "Time will pronounce" is derived from the closing lines of Joseph Brodsky's "Bosnia Tune." Nyman uses the word "generally" five times in describing the nature of the work--violin and cello independent of piano, alternating tempi without motivtion, etc, use of harmonics, etc. The piece premiered July 14 at the Pittville Pump Room, Cheltenham.

The convertibility of lute strings

15:06

Virginia Black, harpsichord

*Engineered by Tony Falkner

Commissioned by neurologist Anthony Roberts for Virginia Black, a fellow student with whom Nyman studied harpsichord at the Royal Academy of Music, the title refers to a late sixteenth century practice to which Christopher Marlowe refers in his book, "The Reckoning" on the death of Christopher Marlowe, in which lute strings were popular to use as a commondty with moneylenders when money was not avaialble, but Nyman details that this is completely irrelevant to the piece, and that his only musical reference in it is to the closing section of his own opera, "The Man Who Mistook His Wife for a Hat", because the piece was commissioned by a neurologist.

This work premiered November 19 at the Purcell Room in London, and was recorded at St. Michael's Church in Highgate two days later.

For John Cage

14:23

London Brass
*Mark Bennett, trumpet
*Tony Cross, trumpet
*Anne McAneney, trumpet, flugelhorn
*Chris Pigram, trumpet, flugelhorn
*Richard Bissill, horn
*Lindsay Schilling, trombone
*Richard Edwards, trombone
*David Purser, trombone, euphonium
*David Stewart, bass trombone
*Oren Marshall, tuba

*Assistant engineer: Tristan Powers

Mark Bennett was a guest performer on "The Kiss and Other Movements". The piece is named because the work was completed on August 12, 1992, and Nyman read in the newspaper the followiing day that John Cage had died, although Cage's influence is not directly felt in the piece, and Nyman acknowledges the piece might not be to his taste. On earlier sheets of the work , he noted the deaths of Miles Davis (who died September 29, the day it was begun) and Astor Piazzolla. The working title for the piece has been "Canons, chorales and waltes," but Nyman rejected this because there was only one canon, one waltz, and no chorales. The work feautres a non-simulataneous multiplictiy of the group operating more like ensembles that constantly change. [Michael Nyman. "Time Will Pronounce." Liner notes. p. 11]

This piece premiered November 16 at Norton Knatchbull School in Ashford, Kent, and was recorded five days later at Abbey Road Studios.

Album credits

*Produced by Michael Nyman and Michael J. Dutton
*Engineered by Michael J. Dutton (1, 2, and 4)
*Tape editors: Michael Nyman & Michael J. Dutton
*Mixed and edited at Kitsch Studios, Brussels
*Assistant engineers/mixing/editing (Brussels): Bruno Stevens, Denis whitby, Sebastian Lambrechts
*Final editing and mastering on the Sonic Solutions Mastering System at Abbey Road Studios by Peter Mew
*P & Q encoding by Peter R. Vince at Abbey Road Studios
*Publishers: Chester Music Ltd./Kelly Music Ltd.
*Art direction: David Smart
*Photographic art direction and design: Joe Ewart for Society
*Cover photo: John Bellars
*Artist representative: Nigel Barr

References