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Oorspronklik

Une Geometrie, Nr. 2 - Incantation. Walter Feldmann. Guitar sheet music. Flute sheet music. Saxophone sheet music. Viola sheet music.

Vertaling

A Meetkunde, Nr 2 -. Incantation. Walter Feldmann. Guitar bladmusiek. Fluit bladmusiek. Saksofoon bladmusiek. Altviool bladmusiek.

Oorspronklik

Une Geometrie, Nr. 2 - Incantation. une geometrie. Composed by Walter Feldmann. For guitar, bass flute, saxophone, viola. This edition. Paperbound. German title. incantation 2007. Full score. Language. all languages. Composed 2007. 38 pages. Published by Carus Verlag. CA.1632900. ISBN M-007-11350-6. With Language. all languages. The texts of the French author Anne-Marie Albiach have long been the point of departure for my works. Following the viola concerto " monstrueuse vecut dans le cadre " la memoire, which is based on her " H II " lineaires, the three texts entitled " une geometrie " have generated a new cycle. As in the other two works of the cycle, " incantation " is predicated upon two different readings of the text. on the one hand a. private. reading by Anne-Marie Albiach in which time is measured out. while on the other hand the graphic text is measured millimeter by millimeter. The latter serves as the basis-the "genetic code"-for the temporal, horizontal structures of the solo part, whereas the reading of the author appears in the rhythmic surfaces of the accompanying trio, which intersect the horizontal plane. In " incantation " one clearly recognizable element is repeated. a tritone chord of E-e-b flat-e', which-transposed a half tone lower-was of fundamental importance in my guitar duo " how many parts of it-the one,-and. how many. the. other " nr. 2 " the other ". For the generation of tone materials this chord is compressed and stretched within the ranges. frames. of tones which are derived from the horizontal positions of the text fragments. lower, borderline tones on the left margin, higher borderline tones on the right margin. Thus the disposition on the page, essential for Anne-Marie Albiach. and first introduced in poetry by Mallarme in "Un coup de des jamais n'abolira le hasard". , is rendered in sound. Naturally each element of the text serves to mould structure and dynamics, including the typography. fragments within quotation marks, in italics, etc. , yield different sonorities and movements. Whereas the solo guitar articulates rhythmically each character of the text, the rhythms of the trio articulate only its syllables and words. Each word of the author's reading of the text is instrumentated differently, which is important for the entire cycle. Thus a compact network of instrumental combinations is created in which, word for word, the text is made audible.

Vertaling

A Meetkunde, Nr 2 -. Incantation. 'n meetkunde. Saamgestel deur Walter Feldmann. Vir kitaar, bas fluit, saksofoon, altviool. Hierdie uitgawe. Paper bound. Duitse titel. 2007 cast. Volle telling. Taal. alle tale. Saamgestel 2007. 38 bladsye. Gepubliseer deur Carus Verlag. CA.1632900. ISBN M-007-11350-6. Met taal. alle tale. Die tekste van die Franse skrywer Anne-Marie Albiach het lank die vertrekpunt vir my werke. Na aanleiding van die viola concerto "monsteragtige geleef het onder die" geheue, qui est gebaseer is op haar "H II" lineêre, die drie tekste Geregtig 'n "meetkunde" het 'n nuwe siklus gegenereer. Soos in die ander twee werke van die siklus, "inkantasie" berus op twee verskillende lesings van die teks. aan die een kant 'n. private. lees deur Anne-Marie Albiach in watter tyd word uitgemeet. terwyl aan die ander kant van die grafiese teks gemeet millimeter vir millimeter. Laasgenoemde dien as die basis-die "genetiese kode" -vir die tydelike, horisontale strukture van die solo deel, terwyl die lees van die skrywer verskyn in die ritmiese oppervlaktes van die gepaardgaande trio, wat sny die horisontale vlak. In "inkantasie" een duidelik herkenbaar element herhaal. 'n tritone koord van EMB plat-e ', wat-getransponeer 'n half toon laer was van fundamentele belang in my kitaar duo "hoe baie dele van dit-die een -en. hoeveel. die. ander "no. 2 "die ander". Vir die opwekking van toon materiaal hierdie akkoord is benoud en uitgestrek in die rye. rame. van toon wat afgelei is van die horisontale posisie van die teks fragmente. laer, borderline toon op die linker kantlyn, hoër borderline toon op die regterkantse kantlyn. So het die ingesteldheid op die bladsy, wat noodsaaklik is vir Anne-Marie Albiach. en vir die eerste keer in die poësie deur Mall in "'n Skoot van nooit skaf kans". , Gelewer in klank. Natuurlik elke element van die teks dien om vorm struktuur en dinamika, insluitend die tipografie. fragmente binne aanhalingstekens in kursief, ens. , Lewer verskillende sonorities en bewegings. Terwyl die solo kitaar artikuleer ritmies elke karakter van die teks, die ritmes van die trio verwoord net sy lettergrepe en woorde. Elke woord van die skrywer se lees van die teks is anders instrumentated, wat belangrik is vir die hele siklus. So 'n kompakte netwerk van instrumentale kombinasies is geskep waarin woord vir woord, is die teks hoorbaar gemaak.