Bladmusiek $36.95

Oorspronklik

Une Geometrie, Nr. 3 - Vertical et Blanc. Walter Feldmann. Guitar sheet music. Baritone Saxophone sheet music. Bass Clarinet sheet music. Flute sheet music. Violin sheet music.

Vertaling

A Meetkunde, Nr 3 -. Vertikale en White. Walter Feldmann. Guitar bladmusiek. Bariton saxofoon bladmusiek. Basklarinet bladmusiek. Fluit bladmusiek. Viool bladmusiek.

Oorspronklik

Une Geometrie, Nr. 3 - Vertical et Blanc. aus une geometrie. Composed by Walter Feldmann. For bass flute, bass clarinet, baritone saxophone, guitar, 2 violins. German title. vertical et blanc 2006. Playing score. Language. all languages. Composed 2006. 70 pages. Published by Carus Verlag. CA.1633000. ISBN M-007-11346-9. 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, " vertical et blanc " is predicated on 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 ensemble part, whereas the reading of the author appears late in the melodic lines of the solo alto flute, which force the ensemble to play an accompaniment in flat surfaces. In " vertical et blanc " one clearly recognizable element is repeated. a ninth chord, the basic element in the works of Claude Debussy, the composer who I admire wholeheartedly. 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, and 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, to include the typography. fragments within quotation marks, in italics, etc. , yield different sonorities and movements. Whereas the ensemble articulates rhythmically each character of the text, the rhythms of the solo flute 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 3 -. Vertikale en White. uit une meetkunde. Saamgestel deur Walter Feldmann. Vir bass fluit, basklarinet, bariton saxofoon, kitaar, 2 viole. Duitse titel. vertikale en wit 2006. Speel telling. Taal. alle tale. Saamgestel 2006. 70 bladsye. Gepubliseer deur Carus Verlag. CA.1633000. ISBN M-007-11346-9. 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, "vertikale et blanc" 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 ensemble deel, terwyl die lees van die skrywer verskyn laat in die melodiese lyne van die solo altfluit, wat dwing om die ensemble 'n begeleiding te speel in plat oppervlaktes. In "vertikale et blanc" een duidelik herkenbaar element herhaal. negende koord, die basiese element in die werke van Claude Debussy, die komponis wat ek bewonder heelhartig. 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, en 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, die tipografie in te sluit. fragmente binne aanhalingstekens in kursief, ens. , Lewer verskillende sonorities en bewegings. Terwyl die ensemble artikuleer ritmies elke karakter van die teks, die ritmes van die solo fluit 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.