Lann, Vanessa

Vanessa Lann was born on April 6, 1968 in New York. Education: Vanessa Lann has been a composer and pianist since the age of five. She studied composition with Ruth Schonthal ...

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24 capriccio's voor viool solo

Genre: Kamermuziek
Subgenre: Viool
Bezetting: vl

About synchronicity : on five pianos, 1996, 2nd revision 2001 / Maarten Bon

Genre: Kamermuziek
Subgenre: Piano
Bezetting: 5pf

Little Waltz : for piano / Andreas Kunstein

Genre: Kamermuziek
Subgenre: Piano
Bezetting: pf

Pièce pour le piano / Jacques Beers

Genre: Kamermuziek
Subgenre: Piano
Bezetting: pf



Recalling chimes : for piano, 1998 / Vanessa Lann

Uitgever: Amsterdam: Donemus, 2000
Uitgavenummer: 10115
Genre: Kamermuziek
Subgenre: Piano
Bezetting: pf
Bijzonderheden: Opgedragen aan Ivo Janssen. - Cop. 2000. - Tijdsduur: 10'15''
Tijdsduur: 10'15"
Aantal spelers: 1
Compositiejaar: 1998
Status: volledig gedigitaliseerd (direct leverbaar)

Program note (English): Recalling Chimes was written for a project exploring the toccata as a compositional form. Early keyboard toccatas (Frescobaldi, etc) were free, fantasia-like pieces in which the accompaniment instrument (harpsichord) could be presented, or 'touched', prior to the entrance of the soloist in a concert. The key of the eventual piece would be stated through repeated chords and melodic figurations: more importantly, the sound world and atmosphere of the individual instrument would be explored. In Recallings Chimes I have tried to use sounds that are typical of the modern piano. For instance, the piece explores the extreme registers available on the piano of today. The three melodic motives from the opening fantasia return, respectively, in the three main sections of the piece, first in the extremely low register and, then, at the top and middle of the piano. The harmonic material surrounding the melodies remains the same - four-note chord clusters and constantly reiterated single
notes (chimes). The damper pedal is held down for long periods of time in the piece, creating a huge mass of sound lingering over the instrument as an enveloping cloud. The 'una corda' pedal is also used structurally and for long periods of time - not to change the dynamic level but to affect the amount and type of reverberation in particular places. The voice of the pianist also produces a hum that mingles with the vibrations of the piano at certain points to result in a strange blend of undefinable overtones. The modern vision of the piano as a percussion instrument is illustrated through the use of a marimba mallet striking the piano at the beginning and end of the piece - another recalling of 'chimes'. The piece should emerge as if from a dream; the restating and repeating of the motivic material allows the listener to recall the melodic and rhythmic patterns as the sound world of the piano subtly changes. - VANESSA LANN

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