componist

Dramm, David

David Dramm werd op 23 december 1961 geboren in Illinois, Verenigde Staten. Opleiding Hij studeerde compositie bij Robert Erickson aan de Universiteit van Californië in San Diego en bij Louis Andriessen ...

gerelateerde werken

Beverwijck overture : for soprano and amplified ensemble, 2002 / text by the composer based on a diary fragment of Anthony de Hooges (1647), David Dramm

Genre: Vocaal
Subgenre: Zangstem en groot ensemble
Bezetting: sopr 1111 sax-t sax-b 1110 drums g-b synth str(2vl vla vc)

Helena is coming later : string quartet, ARP-synthesizer / Will Eisma

Genre: Kamermuziek
Subgenre: Gemengd ensemble (2-11 spelers); Strijkkwartet (2 violen, altviool, cello); Elektronica met verschillende instrumenten; Strijkkwartet (2 violen, altviool, cello) met elektronica
Bezetting: 2vl vla vc arp-synthesizer

Isolation : for bass clarinet and tape (or 3 bass clarinets), 1980 / Takayuki Rai

Genre: Kamermuziek
Subgenre: Klarinet; Klarinet met elektronica; Elektronica met verschillende instrumenten
Bezetting: cl-b tape / 3cl-b

Amoeba : for x flutes / David Porcelijn

Genre: Kamermuziek
Subgenre: Fluit
Bezetting: fl

compositie

Thrash and variations : for flute and ghetto blaster, 1992, flute version 1995 / David Dramm

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