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原文

monstrueuse vecut dans le cadre. Walter Feldmann. B-Flat Trumpet sheet music. Bass Clarinet sheet music. Cello sheet music. English Horn sheet music. Harp sheet music. Oboe sheet music. Trombone sheet music. Tuba sheet music. Viola sheet music. Violin sheet music.

翻訳

住んでいた下の怪物. ウォルター·フェルドマン. 変ロトランペット楽譜. バスクラリネット楽譜. チェロ楽譜. イングリッシュホルン楽譜. ハープの楽譜. オーボエ楽譜. トロンボーン楽譜. チューバ楽譜. ヴィオラ楽譜. バイオリン楽譜.

原文

monstrueuse vecut dans le cadre. la memoire. Composed by Walter Feldmann. For viola solo, large ensemble in 6 groups. contrabass clarinet. bass clarinet. 2 horns. english horn, bassoon, bassoon. contrabassoon. oboe. english horn, violin, cello, contrabass. 2 trumpets, 2 trombones, tuba. clarinet. bass clarinet, harp,. Feldmann. monstrueuse vecut dans le cadre-. Study score. Language. all languages. Composed 2002-2004. 74 pages. Duration 23 minutes. Published by Carus Verlag. CA.1632607. ISBN M-007-10812-0. With Language. all languages. Commissioned by the Ensemble Intercontemporain In 1989 I first discovered the writings of Anne-Marie Albiach. "H II" lineaires especially impressed me, on the one hand through the sensual presence of the words, and on the other hand, above all, through the spatial disposition of the typography. This is a form of writing which has nothing to do with all that has existed before it. This impression was the starting point for a creative work which has since become a kind of a project to which I will dedicate myself throughout my life. Since that time of my first discovery. in which hundreds of pages of sketches and a published excerpt of a score of a syntagma have been composed, namely " monstrueuse vecut dans le cadre " la memoire. I have attempted to develop a new musical system that encompasses all the parameters of composition. All of these works which I have composed are independent from this enormous project, but at the same time they form the experimental laboratory for the all-encompassing musical system towards which I am working and developing. a new system of determining pitches, metre, dynamics, musical diction, manner of performance, etc. With " monstrueuse vecut dans le cadre " la memoire it appears that the research for this project has been concluded. After the two large cycles " Les Georgiques " on texts from Claude Simon and " Tristram Shandy " from Laurence Sterne, both employing techniques from my work with Albiach's texts, I could finally compose this work, which was originally conceived for voice and 6 instrumental groups-the system was mastered, so to speak. Anne-Marie Albiach's establishes the genetic code for the piece, without the words having to be spoken. Her text is, in the true sense of the word, "measured" from one syntagma. syntactical element. , from one "void". space. to another, and this results in temporal structures of ensemble texture. This is opposed to another texture, which is the temporal measurement of a recitation of the text by the author. her voice, using the range of her voice, is the viola solo-a recitation, in its unique individuality, on which the cold, "typographical" structure of the ensemble superimposed. Every time I read a text of Anne-Marie Albiach, it seems to me that she is saying that which I do. An extremely rare coincidence, like that with the violist Odile Auboin, the soloist, who I think works in the same manner and has the same approach to things.

翻訳

住んでいた下の怪物. la memoire. ウォルター·フェルドマン作曲. For viola solo, large ensemble in 6 groups. コントラバスクラリネット. バスクラリネット. 2つのホルン. english horn, bassoon, bassoon. contrabassoon. オーボエ. english horn, violin, cello, contrabass. 2トランペット、2トロンボーン、チューバ. クラリネット. bass clarinet, harp,. フェルドマン. monstrueuse vecut dans le cadre-. 研究スコア. 言語. すべての言語. で構成2002-2004. 74ページ. 再生時間23分. カルスフェアラークが発行. CA.1632607. ISBN M-007-10812-0. 言語に. すべての言語. Commissioned by the Ensemble Intercontemporain In 1989 I first discovered the writings of Anne-Marie Albiach. "H II" lineaires especially impressed me, on the one hand through the sensual presence of the words, and on the other hand, above all, through the spatial disposition of the typography. This is a form of writing which has nothing to do with all that has existed before it. This impression was the starting point for a creative work which has since become a kind of a project to which I will dedicate myself throughout my life. Since that time of my first discovery. in which hundreds of pages of sketches and a published excerpt of a score of a syntagma have been composed, namely " monstrueuse vecut dans le cadre " la memoire. I have attempted to develop a new musical system that encompasses all the parameters of composition. All of these works which I have composed are independent from this enormous project, but at the same time they form the experimental laboratory for the all-encompassing musical system towards which I am working and developing. a new system of determining pitches, metre, dynamics, musical diction, manner of performance, etc. With " monstrueuse vecut dans le cadre " la memoire it appears that the research for this project has been concluded. After the two large cycles " Les Georgiques " on texts from Claude Simon and " Tristram Shandy " from Laurence Sterne, both employing techniques from my work with Albiach's texts, I could finally compose this work, which was originally conceived for voice and 6 instrumental groups-the system was mastered, so to speak. Anne-Marie Albiach's establishes the genetic code for the piece, without the words having to be spoken. Her text is, in the true sense of the word, "measured" from one syntagma. syntactical element. , from one "void". スペース. to another, and this results in temporal structures of ensemble texture. This is opposed to another texture, which is the temporal measurement of a recitation of the text by the author. her voice, using the range of her voice, is the viola solo-a recitation, in its unique individuality, on which the cold, "typographical" structure of the ensemble superimposed. Every time I read a text of Anne-Marie Albiach, it seems to me that she is saying that which I do. An extremely rare coincidence, like that with the violist Odile Auboin, the soloist, who I think works in the same manner and has the same approach to things.