Figurations de mémoire, une géométrie Nr. 1

Name: Figurations de mémoire, une géométrie Nr. 1 - Alto Flute, English Horn, Bass Clarinet, Bassoon and Horn
Brand: Carus Verlag
Price: 41.40 EUR
Availability: OutOfStock

Synchroniestudie Nr. 2 für tiefes Bläserquintett

41,40 €

Editora:Carus Verlag

Disponibilidade:Por Encomenda

Descrição

e texts of the French author Anne-Marie Albiach have long been the point of departure for my works. Following the viola concerto « monstrueuse vécut dans le cadre » la mémoire, which is based on her « H II» linéaires, the three texts entitled « unegéométrie » have generated a new cycle. As in the other two works of the cycle, « figurations de mémoire » is predicated on two different readings of the text: on the one hand a [private] reading by Anne-Marie Albiach in which time is measured[demarcated] out; while on the other hand the graphic text is measured millimeter by millimeter. The latter serves as the basis – the “genetic code” – for the temporal, horizontal structure of the quintet, whereas the reading of the author appears inrhythmic surfaces which interrupt the horizontal plane. In « figurations de mémoire » two clearly recognizable elements are repeated: the tone b [which plays a central roll in most of my works] and a chord of fifths built around the tone b – a pieceof memory [“mémoire”] from viola concerto. In contrast, the extended chords of the reading consist of five tones which in their frequencies are equidistant from each other [like an “overtone chord]. For the generation of tone materials the chords ofboth levels are compressed and stretched within the ranges [frames] of tones from which the horizontal positions of the text fragments are derived: lower, borderline tones on the left margin, and higher borderline tones on the right margin. Thus thedisposition on the page, essential for Anne-Marie Albiach [and first introduced in poetry by Mallarmé in “Un coup de dés jamais n’abolire le hasard”], is rendered in sound. Naturally each element of the text serves to mold structure and dynamic, toinclude typography: fragments within quotation marks, in italics, etc., yield different sonorous images [sonorities] and movements. Each word from the typographical reading is orchestrated [instrumentated] differently, which is important for thewhole cycle [however, the chords of the spoken reading are always played by five instruments; here only speech and pauses in speech [[interruptions of speech]are distinguished from each other]. Thus a tight network of instrumental combinations iscreated in which, word for word, the text is made audible. The most important element in the process: the vertical, synchronized playing together of the individual instruments [“Synchorniestudie”], ranging from solo to quintet.