24 april, 1999 - Posthoornkerk, Amsterdam
CONCERT IX
24 april, 1999 - Posthoornkerk, Amsterdam
CONCERT IX |
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presenteertEnsemble InsomnioProgrammaMartijn Padding--Shuffle Ketty Nez--Machaut Mirrored Patrick Clark--Rhyming Shapes pauze Magnus Robb--The Ancient Language of the Birds Rozalie Hirs--Sacre Monte Lotta Wennäkoski--árva spelers:
ToelichtingenRhyming Shapes (1995) - Patrick Clark I. Lonely is the Monk II. That In-Between Time III. Myriad Libidinal Dance Figures for flute, clarinet, violin, cello, piano and percussion It is often only after hearing a piece of music that we as listeners can truly engage with it in an active sense. Through recollection we have the freedom to dwell selectively on the moments that we are most attracted to and are able to find connections which are not necessarily explicit in the work as object. In a word, music becomes "subjective" only after it is heard. In the first movement of Rhyming Shapes I have explored this issue as it relates to my experience of 'Round Midnight' by Thelonious Monk, and have allowed my own stream of consciousness to fragment and reconstruct the head tune. In the second movement, "That In-Between-Time," the music deals with the anticipation of a moment rather than the moment itself. Through concentration on "anticipation," the arrival of the moment as "object" is blended with the uncertainty of subjective expectation, and dissipation of the moment then leads to new expectations. The third movement, "Myriad Libidinal Dance Figures," responds to this dreamy expectation through its clear and bright presentation of earlier material in an ecstatic visceral dance. Machaut Mirrored - Ketty Nez Written in 1997-1998 while working with Louis Andriessen in Amsterdam, MACHAUT MIRRORED is a brittle, scintillating fracture of Machaut's ballade "De triste cuer - Quant vrais amans - Certes, je di." As it were, this piece joins a series of compositions which unintentionally concern themselves with abstract reinterpretations of "found objects" from other musical environments, brusquely decontextualized and dessicated, little trace of the original associations (in this case once intensely emotional) . . . but perhaps enough "scent" lingers to spark a series of fresh encrustations. The Ancient Language of the Birds - Magnus Robb The Ancient Language of the Birds takes its inspiration from Siberian tales of shamanic initiation in which the initiate, in a vision, is abducted and reduced to bones by carnivorous birds, before being reconstructed and revitalised in his or her new identity as a shaman. Through this rite of passage the shaman makes the acquaintance of the destructive and healing spirits which are believed to assist later during shamanic journeys to other worlds. In my piece, it is rather the relationship between sound and meaning, body and soul in music and words which undergoes this de/reconstructive ordeal. The names of body parts are thought to be among the oldest words in modern languages, and after reconstructing their changing forms through the ages, many of the oldest roots, the bare bones, seem likely to have been onomatopoeic. An obvious example is the prominence of nasal and sibilant sounds in words associated with the nose and scent. Similarly, the body is the source of the rudimentary breath and pulse of music. In revitalising the relationship between word and music, ancient cries and dances of birds are given an essential role: the clever and capricious raven, the wry and agile black and red kites and finally the mighty lammergeyer, whose majestic flight is powered by a staple diet of bones! árva - Lotta Wennäkosk The work Arva for chamber orchestra was written in 97. The title refers to a Hungarian folk song heard in the end of the piece and means "orphan" or "abandoned". Arva is written and dedicated to the memory of the composer's grandmother. Sacre Monte - Rozalie Hirs Begin 1999 Sacro Monte in een uitvoering van het Ives Ensemble binnen de single CD serie "present" bij het Centrum voor Nederlandse Muziek (CNM). Shuffle - Martijn Padding A shuffle is a slow dance step in blues music. In this piece I wanted to transform the heterogeneous character of a chamber ensemble into that of a compact band. Shuffle consists of two layers. The lower one, with its chords by the piano, strings and harp does not develop itself. The higher layer, the melody, develops itself in six phases. It becomes higher and faster until the tenor saxophone reaches its "flageolette register". This is extremely difficult for the saxophone player, but that was meant to be because I wrote the piece for Arno Bornkamp when he was studying for the "Nederlandse Muziekprijs". In the process, the piece accelerates and the musicians come together in a heavy shuffle, which falls apart in the end, but two of them don't want to stop. The proportions in Shuffle are based on the numbers of Arno Bornkamp's telephone number. The Concert Series: Concerten I t/m IV Composers' Collective is a group of 21 young professional and emerging composers, most of whom are living in the Amsterdam area. The composers involved are approximately half from the Netherlands and half international, coming from the U.S., Canada, Cuba, Belgium, England, Scotland, and Switzerland. The Collective was established in the spring of 1997 for the purpose of presenting a composer-organized series of concerts, in which composers can have performed whichever pieces they desire, free from the strictures of instrumentation, time, or aesthetics which make so many other concert situations less appealing. During our first season, 1997-98, we presented four concerts in Amsterdam's Posthoornkerk. A fifth concert was presented during the summer. In the 1998-99 season we will be presenting six concerts. For some we have invited guest musicians in order that we may have the opportunity to write for specific players, while other concerts focus on a particular type of music; in keeping with our original premises, however, anything may appear on any concert. thanks, love, Joanna |
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