gerelateerde werken
24 capriccio's voor viool solo
Genre:
Kamermuziek
Subgenre:
Viool
Bezetting:
vl
Eppur si suona il silenzio (In memoriam Ludwig van Beethoven) : for piano / Oscar van Dillen
Genre:
Kamermuziek
Subgenre:
Piano
Bezetting:
pf
Zeven essays : voor piano, (1953) / Jaap Geraedts
Genre:
Kamermuziek
Subgenre:
Piano
Bezetting:
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Genre:
Kamermuziek
Subgenre:
Piano; Elektronica met verschillende instrumenten; Piano met multimedia
Bezetting:
2pf taperecorder
compositie
Recalling chimes : for piano, 1998 / Vanessa Lann
Overige auteurs:
Lann, Vanessa
(Componist)
Toelichting:
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