Sims, Richard

Richard Sims werd geboren in Engeland op 3 mei 1961. Sinds 1990 woont en werkt hij in Nederland. Opleiding Van 1970 tot 1985 kreeg hij privéles van Susan Brandt (cello) en van ...

gerelateerde werken

Quintessence : for chamber choir, 1998 / Richard Sims

Genre: Vocaal
Subgenre: Gemengd koor
Bezetting: GK4

Prélude, fantasie (over twee oud-Nederlandse volksliederen) en rondeau : voor beiaard of piano, sept. 1956 (rev. jan. '62) / Wim Franken

Genre: Kamermuziek
Subgenre: Beiaard; Piano
Bezetting: car/pf

Muziek voor piano : 1981 / Peter Visser

Genre: Kamermuziek
Subgenre: Piano
Bezetting: pf

Fantasy : vijf improvisaties over een 16e eeuws minnelied, voor piano, (1957) / Jaap Geraedts

Genre: Kamermuziek
Subgenre: Piano
Bezetting: pf



Philibuster : for fortepiano, 1993 / Richard Sims

Uitgever: Amsterdam: Donemus, 2001
Uitgavenummer: 09930
Genre: Kamermuziek
Subgenre: Piano
Bezetting: pf
Bijzonderheden: Opgedragen aan J. Marc Reichow. - Cop. 1998. - Tijdsduur: 8'30''
Tijdsduur: 9'00"
Aantal spelers: 1
Compositiejaar: 1993
Status: nog niet gedigitaliseerd (verwachte levertijd 14 dagen)

Program note (English): This is the first of a cycle of new pieces for baroque or classical instruments. I have long been interested in the ambiguous relationship between the past and the present. This has previously manifested itself in the filtering of historical material through the compositional process: for example in my piece Vir Perfecte (1986) which is based on a fragment of organum of Perotin. In the present piece this goes one stage further: an early instrument becomes the exponent of a new work three centuries later. Philibuster is an exploration of certain aspects of the music of Carl Philip Emmanuel Bach who wrote a number of masterpieces for this instrument during the mid-eighteenth century. The name, conventionally spelt 'filibuster', is a reference to the oratory technique of 'talking out' a piece of legislation, delaying a decision through protracted speaking. In the piece C.P.E. Bach-like cadences are delayed for as long as possible by the intervention of chains of ornamentation.
Indeed, the use of ornament as a structural device is a major theme of the piece. The opening sequences are highly organized ornament patterns whose pitches are serially derived from D12, the symmetry group of the equilateral triangle. During the course of the work it becomes more apparent that these sequences are indeed elaborate decoration of the tonal cantus firmus. Moreover, a recurring tetrachord is finally revealed to be merely a suspension over a conventional dominant triad. Meaning, in music, is therefore something which is established or altered retrospectively. (An article by Reichow and Sims was published in Harpsichord and Fortepiano Vol. 5, no. 3, October 1995). - Richard Sims

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