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The formula for realising this work:

- take existing quartet (2010)
- delete guitar and cello parts
- rearrange and pare down surviving flute and clarinet parts
- add bass trombone part

Why?

- I’ve been interested in continuous recontextualisation of materials (transformed or unchanged) within single works for some time now; if I rip entire chunks from an existing piece and use them to build something else, to what extent is the resulting work new, and to what extent is it related? – and can this relatedness even be detected? Furthermore, is composing in my usual mode as dependent on such high levels of compositional struggle as I had previously held it to be?
- but primarily: this is the first work written since the arrival of my son about a year ago; time for composition remains limited and rapid solutions must be found

Chris Watson

• Watson, C.: recrudesce; computer set 

  Score and parts | Pdf - computer set
  
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• Watson, C.: recrudesce; computer set 

  Score and parts | Hardcopy - computer set
  
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• Watson, C.: recrudesce; computer set 

  Full score | Hardcopy - computer set
  
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• Chris Watson: recrudesce; audio 

  Media on Demand | Embedded
  

A trajectory based piece that begins with tonal melodic material which is then tuned through a pitch class set and then follows through atonal harmony. The process is reversed to bring the piece around full circle. The piece was written instinctively with no material concept but simply a present energy of animal nature or character.

• Briar Prastiti - ζωώδες/zo̱óḏes (‘Animality’) - hardcopy score & parts 

  Score and parts | Hardcopy - computer set
  
  $26.00
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• Briar Prastiti - ζωώδες/zo̱óḏes (‘Animality’) - downloadable PDF 

  Score and parts | Pdf - computer set
  
  $18.50
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