Nielson, Lewis

Lewis Nielson (b. 1950) studied music at the Royal Academy of Music in London, England, Clark University in Massachusetts and the University of Iowa, receiving a Ph.D. in Music Theory ...

gerelateerde werken

Tocsin (Die fünf Jahreszeiten) : for percussion sextet / Lewis Nielson

Genre: Kamermuziek
Subgenre: Slagwerk
Bezetting: 6perc

Quintet : for bassoon and string quartet / Michael Fine

Genre: Kamermuziek
Subgenre: Gemengd ensemble (2-12 spelers)
Bezetting: fg 2vn vla vc

Jeanne d'Arc (Burning in Flames) : Version for bassoon, cello and piano / Chiel Meijering

Genre: Kamermuziek
Subgenre: Gemengd ensemble (2-12 spelers)
Bezetting: fg vc pf

Faust : for ensemble / Willem Breuker

Genre: Kamermuziek
Subgenre: Gemengd ensemble (2-12 spelers)
Bezetting: sax-s(sax-a/sax-t) sax-a(harmonica) sax-t 2tpt 2trb(tb) pf(synth) db drums



Axis (Sandman) : for percussion and string quintet / Lewis Nielson

Uitgavenummer: 20812
Genre: Kamermuziek
Subgenre: Gemengd ensemble (2-12 spelers)
Bezetting: perc 2vn vla 2vc
Bijzonderheden: Written for and dedicated to Steven Schick. Also available in the version for percussion and string orchestra.
Tijdsduur: 14'30"
Aantal spelers: 6
Compositiejaar: 2005
Status: volledig gedigitaliseerd (direct leverbaar)

Axis has no overt process that directs its motion but does have a gradually evolving motion toward greater coordination of attack rhythm and sound focus, manifested primarily through stabilization in the percussion on particular instruments for increasing periods of time. A kind of symbiosis exists between strings and percussion (not and NEVER an opposition!) that facilitates, and occasionally redirects, this motion. The sound of the piece does not depend in any way on its pitch content, which was determined solely as a function of timbre. The compositional challenge was to write for strings as if they were multiple percussion set-ups within themselves and arrive at a combinative structure whose progress is directed by rhythm and timbre only. While there is no final performance set-up of the total ensemble that I would consider essential, an arrangement where the strings were somehow to be arrayed around the percussionist would be ideal, providing the performers can see and communicate with each other, that all sounds can be perceived individually, and, if a conductor is used, line of sight to him or her is not impeded. This would be ideal in the version for string orchestra. While I resist programmatic reference to visual imagery, I would find a configuration along the lines of Dante’s Celestial Rose to be ideal.
Lewis Nielson

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