21 oktober, 2001 - Posthoornkerk, Amsterdam

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bijna DE ZWARTE MUZE omdat

Vanwege onverwachte persoonlijke omstandigheden kan hedenavond de cellist John Addison niet optreden. Hierdoor vallen de aangekondigde premieres van het Skylger Trio van Vriezen en De Zwarte Muze van Toon Vandevorst uit het programma. Deze stukken zullen op een later programma dit seizoen worden gespeeld.


Samuel Vriezen - Begin (1995)
     Dante Oei, piano

Morton Feldman - Intermission V (1952)
     Dante Oei, piano

Morton Feldman - Intermission VI (1953)
     Dante Oei, piano

Mark Gibbons - glacial erratic (1995) (premiere)
     Dante Oei, piano

John Cage - Williams Mix (1952)
     electronische muziek
Samuel Vriezen - Toccata II (2001) (premiere)
     Ned McGowan, fluit


Ned McGowan - Moonrise (1998)
     Ned McGowan, fluit

Richard Sims - Airport (2001) (premiere)
     electronische muziek

Steve Reich - Violin Phase (1967)
Versie voor viool en tape
     Jacob Plooij, viool

Dit programma werd mogelijk gemaakt dankzij financiële ondersteuning van het Amsterdams Fonds voor de Kunst.


Samuel Vriezen - Begin

Samuel Vriezen: "Dit stuk is ooit bedoeld als eerste deel van een vierdelige cyclus, maar een goed begin is het halve eind, dus is de rest er nooit gekomen. De vier delen van het stuk zag ik indertijd als stadia in de ontwikkeling van een gedachte. In het begin is een gedachte wel al daar, maar warrig; ik was geinteresseerd in een muzikaal gegeven dat in veel gedaantes razendsnel voorbijschiet, suggestief en detailrijk en te snel om te kunnen volgen; een idee dat zich geleidelijk aan op de voorgrond plaatst en alles verandert. Het zou een leuke toegift kunnen zijn, maar dat kan niet, want het is een begin".

Morton Feldman - Intermission V en Intermission VI

Feldman: "At this first meeting I brought John [Cage] a string quartet. He looked at it a long time and then said, 'How did you make this?' I thought of my constant quarrels with Wolpe and also that, just a week before, after showing a composition of mine to Milton Babbitt and answering his questions as intelligently as I could, he said to me, 'Morton, I don't understand a word you're saying.' And so, in a very weak voice, I answered John, 'I don't know how I made it.' The response to this was startling. John jumped up and down and, with a kind of high monkey squeal, screeched, 'Isn't that marvelous. Isn't that wonderful. It's so beautiful, and he doesn't know how he made it.' Quite frankly, I sometimes wonder how my music would have turned out if John had not given me those early permissions to have confidence in my instincts."

'Intermission VI' bestaat uit een vel met, los verspreid over de pagina, vijftien losse noten en akkoorden. Het stuk heeft een variabele lengte (vier minuten in deze uitvoering).

Feldman: "Composition begins with any sound and proceeds to any other. With a minimum of attack, hold each sound until barely audible. Grace notes are not played too quickly. All sounds are to be played as soft as possible. This 'Intermission' may be played with either one or two pianos."

Mark Gibbons - glacial erratic

----- Original Message -----
From: Mark Gibbons <xxxx@xxx.xx>
To: Nicole en Dante Oei <xxxx@xxx.xx>
Sent: donderdag 4 oktober 2001 13:19
Subject: Re: first things on my list

> dante.. here you go. best - mark
> p.s. a recording of this part of the piece is onits way to you.
> Nicole en Dante Oei wrote:
> > O.K., almost missed my deadline, so here are the first questions:
> >
> > 1. page 1 first system R.H.
> > "unclear - uneven" : in dynamics; also in rhythm (rubato)?
> this direction applies to the dynamics. rubato is not needed here (it's
> actually kind of written into the RH part.) note however, that later on (i.e.
> pp2 2nd system and pp3 1st system) a bit of rubato is actually needed to locate
> the RH material within the unfolding LH bits.
> >
> > 2. 2nd system L.H.
> > What do you mean by "p molto"?
> i use "p molto" to indicte a dynamic inbetween piano and pianissimo.
> >
> > 3. V V V is this 'staccatissimo?
> it's an up-bow! (only kidding).. i use this to indicate a "hammered" accent
> (with force!)
> >
> > 4. page 3 2nd system
> > "damp" : is that muting the strings with a finger?
> yes
> >
> > 5. Does the slur between the "b's" (the one just before "damp", end of
> > system) mean
> > I have to bind them (so the comma just after the first one is only a
> > short break in
> > time)?
> yes.. this is hard because of the time required to reach into the instrument!
> >
> > (Same for all commas on page 2 and the comma in between the a-flats end
> > of
> > 2nd system page 2?)
> the pauses are notated as follows:
> - commas w/out a slur (pp2 LH, material w/ stems up) indicate a pause.
> - commas with a slur after them indicate a short break in a phrase (so you
> would bind the 1st bit to the 2nd bit)
> - commas with an arrow above them - these indicate a short pause, turning over
> quickly
> - commas w/ a line through them - these indicate a breath (of even shorter
> duration)
> >
> > 6. page 4 first system
> > What do you mean by the dotted slur above the short 32nd phrases in the
> > middle
> > staff?
> dotted slurs indicate a phrase or gesture that extends through a pause or
> break. in this case, the idea was to show that the three spatially separated
> 32nd note bits before the pause (3 notes, 2 notes, 9 notes) are part of one
> gesture. in retrospect, i should have extended the dotted slur over this whole
> group of notes. apologies.
> >
> > (Also I have to use some pedal there in order not to lose the notes in
> > the other staff;
> > is that O.K.?)
> yes, of course.
> >
> > And are grouplets that don't have slurs to be played staccato?
> no, some damper pedal is indicated for those bits (though not too much!)
> >
> >
> > This is all for the moment; thank you for every answer you can give!
> > cheers, Dante

John Cage - Williams Mix

John Cage: "In '52, when I worked with David Tudor and Earle Brown, we made several pieces - one by Earle, one by me, one by Christian Wolff, and one by Morton Feldman, with funding from Paul Williams. I made the 'Williams Mix' then. All of that work was done with excitement over the possibilities of magnetic tape, and they were various. That's why I was anxious not to exploit them alone but with other people, because each mind would bring into the new possibilities a different slant; and that's certainly the case. Feldman was working with his early graph music, and it was just marvelous to come to a square on his graph paper with the number, say, 1097 in it. That meant that we were to chop up a piece of recorded tape so that it formed 1097 fragments and splice it back into the band, you know, at that point."

James Pritchett: "For the purposes of organizing the materials, Cage divided the sounds into six categories:

A) city sounds
B) country sounds
C) electronic sounds
D) manually-produced sounds (including music)
E) wind-produced sounds (including songs)
F) "small" sounds requiring amplification

The sounds were further categorized by the predictability or unpredictability of their frequency, timbre, and amplitude. Each of these aspects of a sound could be "controlled" and predictable or "variable" and unpredictable. [...] Sounds could be mixed electronically to produce "double sources," or looped to create regular rhythmic patterns."

Samuel Vriezen: "Cage was maandenlang bezig met het knippen en plakken van stukjes band voor 'Williams Mix'. Er wordt wel gezegd dat tegenwoordig dit werk in één dag op de computer gedaan zou kunnen worden. Dat geloof ik niet. Het is misschien niet zo moeilijk een complex gelaagd geluid te fabriceren uit een stapel samples, maar 'Williams Mix' heeft een onmiskenbare eigen klank en, heel belangrijk, een uniek metrum, dat alleen resultaat kon zijn van precies dat materiaal en die toevalsprocedures, die Cage in 1953 heeft gebruikt".

Samuel Vriezen - Toccata II

Samuel Vriezen: "Een correctie van mijn meer fragmentarische piano-Toccata. Niet alleen snelheid maakt het stuk beweeglijk. Er zijn hier tien motieven of manieren van melodie schrijven, ze combineren steeds anders. En er zijn twaalf toonladders die soms erg diatonisch lijken, soms minder".

Richard Sims - Airport

Richard Sims: "This piece is part of a series exploring the consequences of taking a 'found' sonic object as the starting point for further musical analysis and exploration. The harmonic, conceptual and spiritual aspects of the familiar airport scenario are probed, dissected and reconstructed. The whole process from check-in to take-off possesses an element of ritual as well as operating as a metaphor for some of the larger and longer flights we make in our lives. Indeed the act of taking off, forsaking the two dimensional in favour of three is surely of profound significance and resonances abound - not least those of the spiritual underpinnings of a number of great world religions.

This piece was realised using a Native Instruments Spektral Delay in conjunction with Logic Audio software on a Presario 1200 laptop and Yamaha UW500 Audio Interface. A cameo role is played by a Clavia Nord Micromodular in simulating the bell and jet engine sounds and a Yamaha FS1R in providing the voices at the end but the majority of the piece consists of treated samples recorded at Vienna, Frankfurt, Heathrow and Gatwick airports on a Sony Portable Minidisc Recorder and Soundman OKM II microphones.

The piece was composed in July 2001 in an appartment on Nevsky Prospekt in St. Petersburg. It is dedicated to Marilyn Millihayes, Estel Mendez, the owner of the white Vauxhall Astra left in the long stay car park at Gatwick North Terminal and passengers Courtney, Flack, Allison, Pedderson, Stephenson and Te Huxberry who may or may not have missed British Airways flight 2328 to Paris Charles de Gaulle."

Steve Reich - Violin Phase

Dit is een van Reich's 'phase shifting'-werken. Phase Shifting is een techniek waarbij twee loopjes met hetzelfde materiaal worden gespeeld, maar het ene loopje duurt een fractie van een seconde langer dan het tweede. De techniek is voor het eerst toegepast op korte gesproken fragmentjes op band: 'It's gonna rain!' en 'Come out', en later in stukken als Piano Phase, Violin Phase en Clapping Music op melodische patronen. De verschuivingen die het resultaat zijn van phase shifting zorgen er voor dat er op magische wijze telkens andere latente patronen uit het bronpatroon tevoorschijn komen. Deze patronen kunnen weer op verschillende manieren gehoord worden. In Violin Phase wordt de violist gevraagd om telkens na een periode van 'phase shifting' uit de ontstane patronen zijn eigen melodien te destileren en hoorbaar te maken.

Heeft U deze concerten al gehoord?

Concert XXVII - 'Percussion Party' Zondag 2 december 2001 20:30
Claire Edwardes en Niels Meliefste, slagwerkduo
werken van o.a. Damien Ricketson en Rudiger Meyer

Concert XXVIII - 'Cheap Imitation' Zondag 16 december 2001 20:30
Dante Oei speelt een pianorecital met deels hels moeilijke, deels extreem makkelijke stukken
werken van Sweelinck, Stravinksy, Renske Vrolijk, Toon Vandevorst, Iannis Xenakis en John Cage

Concert XXIX - Geoff Gartner recital Zondag 27 Januari 2002 20:30
De australische cellovirtuoos Geoff Gartner speelt o.a. nieuw werk van Martijn Voorvelt

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