gerelateerde werken
Master bop blaster : for rapper and saxophone quartet, 1992 / lyrics by David Dramm, David Dramm
Genre:
Vocaal
Subgenre:
Spreekstem en instrument(en)
Bezetting:
recit 4sax
Verloren paradijzen : voor blaaskwintet, 4 strijkers, tape en dia's, 1991 / Roderik de Man
Genre:
Kamermuziek
Subgenre:
Blaas en strijkinstrument(en); Elektronica met verschillende instrumenten; Blaas en strijkinstrument(en) met multimedia
Bezetting:
fl ob cl fg h vl vla vc cb tape slides
Kolom : voor orgel en klanksporen, 1987 / Ton Bruynèl
Genre:
Kamermuziek
Subgenre:
Orgel; Elektronica met verschillende instrumenten; Orgel met multimedia
Bezetting:
org tape
On a lion's interlude : for alto flute, 1986 / Rob du Bois
Genre:
Kamermuziek
Subgenre:
Fluit
Bezetting:
fl-a
compositie
Thrash and variations : for flute and ghetto blaster, 1992, flute version 1995 / David Dramm
Auteur(s):
Dramm, David
(Componist)
Toelichting:
Program note (English): Thrash and variations is, for the player, a perilous, high speed drive through quick tempi changes, tight turns of style and razor-sharp alterations between written and improvised passages. The 'drum machine' part borrows heavily from the more virtuosic moments of heavy metal and its faster offspring, 'speed metal' and 'trash'. At the same time, these patterns are reworked into a part technically impossible for a real drummer to perform. In the original version, written for bass clarinet, a recording of a drum machine was played back on stage with a ghetto blaster. In this version, the drum machine part was re-recorded by Anne La Berge, using her well-known battery of percussive sounds and 're-played' with a sequencer. The title refers not only to the variations on drum rhythms from such styles as 'trash', but also to the score's many improvised passages which direct the player to fill in little pockets of time with compressed chunks of merciless sonic intensity. The original
version for bass clarinet was written for Hein Pijnenburg. This new version is more or less a transcription of Anne's approach to the piece. - David Dramm