Basic information
| Composer |
Ivičević, Mirela |
| Duration |
10 min. |
| Year of composition |
2008 |
| First performance (year) |
2008 |
| First performance (venue) |
Workshop for conductors and composers |
| First performance (performers) |
Cantus Ensemble |
| Submitter |
Cantus Ensemble |
| Publisher |
|
| Conductor |
Obligatory |
| Soloist(s) |
, |
Instruments
|
Musicians |
1st player |
2nd player |
| Violin | 2 | | |
|---|
| Viola | 1 | | |
|---|
| Cello | 1 | | |
|---|
| Double-bass | 1 | 4-string | |
|---|
| Flute |
1 |
C
|
|
| Oboe |
1 |
Oboe
|
|
| Clarinet |
1 |
Bass
|
|
| Bassoon |
1 |
Bassoon
|
|
|
Musicians |
Instruments |
| Percussion |
1 |
Glockenspiel
Timpani
Bass Drum
Cymbals
Tom-Toms
Temble Blocks
|
| Keyboard |
1 |
Piano
|
| Other instruments and playing techniques |
| cymbals: 2 suspended, 1 china cymbal |
|
Equipment |
| Sound electronics |
|
| Visuals |
|
|
Notes
| Programme notes |
Dominosa FF00FF
(Zagreb edition)
Welcome to the witches’ house!
There’s something evil..,
Or good..,
Depends on how you look at it
Black / white, black / white,
Black /white,
Violet!
Hahaha...
Aestilomariyokaroliaebriloava
Zzzzzzzzzzzzz z z z z
I left my soul in the violet see!
Und der Fibonacci?
112123123451234567812345678910111213
Damn you contemporary art!
?%?
Depends on how you look at it
A dream of a composer. Confused, yet not unorganized, as it is, after all – a dream of a composer. Nightmare, partially - the witch is terrifying but has nice.............(fill in according to your own preferences.) She reads composer’s thoughts and turns them into music, putting them together according to the simple domino game principle: in „time bones“, each divided in two fields, she puts music situations, and connects the bones in the way that the open field of one bone is similar to the subsequent field of the following bone. The composer can´t influence the development of the dream, and the instruments/sounds are excluded from the principle only when the witch decides to speak through them herself. The piece was originally written for somewhat different ensemble Splithesis in March 2008, and newly arranged specially for Cantus ensemble.
|
Ich vergesse Dich nicht
for ensemble
Basic information
| Composer |
Dedić, Srđan |
| Duration |
16 min. |
| Year of composition |
2004 |
| First performance (year) |
2005 |
| First performance (venue) |
Music Biennale Zagreb |
| First performance (performers) |
Cantus Ensemble |
| Submitter |
Cantus Ensemble |
| Publisher |
|
| Conductor |
Obligatory |
| Soloist(s) |
, |
Instruments
|
Musicians |
1st player |
2nd player |
| Violin | 2 | | |
|---|
| Viola | 1 | | |
|---|
| Cello | 1 | | |
|---|
| Flute |
1 |
C
|
|
| Oboe |
1 |
Oboe
|
|
| Clarinet |
1 |
B-flat
|
|
| Bassoon |
1 |
Bassoon
|
|
| Horn (F) |
1 |
|
|
| Trumpet |
1 |
C
|
|
| Trombone |
1 |
Tenor
|
|
|
Musicians |
Instruments |
| Percussion |
2 |
Chimes
Crotales
Marimba
Vibraphone (F3)
Cymbals
Temble Blocks
Other
|
| Keyboard |
1 |
Celeste
|
| Other instruments and playing techniques |
| antique cymbals (double bass bow), crash cymbal, triangle |
|
Equipment |
| Sound electronics |
|
| Visuals |
|
|
Notes
| Programme notes |
About the composition Ich vergesse Dich nicht:
„The possibility of this kind of fourteen instrumentalists ensemble to create numerous colours of different sound registers and instrumental groups, from solos and details to the complex tutti sound“ – as the author wrote – „seems magical to me. In a three movement form, I tried to make a new step in unifying intuitive, abstract and „visual“ musical ideas with the adequate structures of tone and rhythm. The material in its entirety is a result of algorythmic process which I develop using IRCAM's computer program MAX for the last 17 years. The title (I won't forget you) addresses many friendships, acquaintances and meetings with the people from different cultures and nationalities in cosmopolic Amsterdam, which were unforgettable to me.
The piece was written on the encouragement of the MBZ and it's dedicated to Cantus Ensemble, who made new and significant steps in promotion and performance quality of the contemporary music in Croatia.“
|
disORDER
for ensemble
Basic information
| Composer |
|
| Duration |
10 min. |
| Year of composition |
2004 |
| First performance (year) |
2004 |
| First performance (venue) |
island Vis - Cantus Ensemble Workshop |
| First performance (performers) |
Cantus Ensemble |
| Submitter |
Cantus Ensemble |
| Publisher |
|
| Conductor |
Obligatory |
| Soloist(s) |
, |
Instruments
|
Musicians |
1st player |
2nd player |
| Violin | 2 | | |
|---|
| Viola | 1 | | |
|---|
| Cello | 1 | | |
|---|
| Double-bass | 1 | 4-string | |
|---|
| Flute |
1 |
C
Piccolo
|
|
| Oboe |
1 |
Oboe
|
|
| Clarinet |
1 |
B-flat
|
|
| Bassoon |
1 |
Bassoon
|
|
| Horn (F) |
1 |
|
|
|
Musicians |
Instruments |
| Percussion |
1 |
Vibraphone (F3)
Tamtam
|
| Other instruments and playing techniques |
| vibraphone (bow) |
|
Equipment |
| Sound electronics |
|
| Visuals |
|
|
Notes
| Programme notes |
The score, with a multiple meaning title, was finished just before the start of the Vis Workshop, where it was first performed. Using the word disorder and its multiple meanings, in a sense of mess, noise, disarray and restiveness, the composer reached into the sound estetics of everyday life marked with chaos and anarchy. Its title and play on words undoubtably point to diversity in creating shapes as counterbalance between the sense of Disorder and Order, based around D-sharp (dis in Croatian). Critics described the piece as exploration of the clashes between independent sound fields, between which a fine sense of tension and drama is created, until the unexpected dissolution.
|
Tan Hetti
for 10 instruments
Basic information
| Composer |
Šipuš, Berislav |
| Duration |
10 min. |
| Year of composition |
2004 |
| First performance (year) |
2002 |
| First performance (venue) |
Berlin, Konzerthaus, Days of Croatian Culture in Germany |
| First performance (performers) |
Cantus Ensemble |
| Submitter |
Cantus Ensemble |
| Publisher |
Cantus |
| Conductor |
Obligatory |
| Soloist(s) |
, |
Instruments
|
Musicians |
1st player |
2nd player |
| Violin | 2 | | |
|---|
| Viola | 1 | | |
|---|
| Cello | 1 | | |
|---|
| Double-bass | 1 | 5-string | |
|---|
| Flute |
1 |
C
Piccolo
|
|
| Oboe |
1 |
Oboe
|
|
| Clarinet |
1 |
B-flat
|
|
| Bassoon |
1 |
Bassoon
|
|
| Horn (F) |
1 |
|
|
| Other instruments and playing techniques |
|
|
Equipment |
| Sound electronics |
|
| Visuals |
|
|
Notes
| Programme notes |
Written in 2002 for the Cantus Ensemble, it was premiered at the Berlin's KONZERTHAUS in 2002, by the Cantus Encemble, conducted by the author, during the Days of Croatian Culture in Germany.
It is the first piece in the series that the composer is writing, all of them in the frame of chamber ensemble : Tan Hetti is written for 2 quintets, but for the 23rd Music Biennale Zagreb, in 2003, the composer has written a second piece in the series, Tin Hatti, for six instruments ( flute, clarinett, violin, cello, included one percussions, piano and electronics). Soon is going out the 3rd piece in taht series, under the title Ten Hotti, as well for the chamber ensemble, but this time the two quintets will be enlarged by solo bass clarinet, drum set, solo sax, electric guitar and piano, making the ensemble of 13 instruments……
The music in this series is a part of composers new and growing interest for the chamber ensembles, starting in 2001, with the 1st String Quartet(From The Book Of Forgotten Words)…..
Tan Hetti is exploring the regions which are on the opposite and distant sides ;
Soloist – Group
Color – Modes
Mood(s) – Virtuosity
Tranquillity – Restlessnes
……
It is ment that once all pieces should be played each one after another, making though a big form.
|
dolce furioso
for chamber orchestra
Basic information
| Composer |
Detoni, Dubravko |
| Duration |
15 min. |
| Year of composition |
2003 |
| First performance (year) |
2003 |
| First performance (venue) |
Music Biennale Zagreb |
| First performance (performers) |
London Sinfonietta, Conductor: Martyan Brabbins |
| Submitter |
Cantus Ensemble |
| Publisher |
|
| Conductor |
Obligatory |
| Soloist(s) |
, |
Instruments
|
Musicians |
1st player |
2nd player |
| Violin | 2 | | |
|---|
| Viola | 1 | | |
|---|
| Cello | 1 | | |
|---|
| Double-bass | 1 | 5-string | |
|---|
| Flute |
1 |
C
|
|
| Oboe |
1 |
Oboe
|
|
| Clarinet |
2 |
B-flat
|
B-flat
Bass
|
| Bassoon |
1 |
Bassoon
|
|
| Horn (F) |
1 |
|
|
| Trumpet |
1 |
C
|
|
| Trombone |
1 |
Tenor
|
|
|
Musicians |
Instruments |
| Percussion |
2 |
Chimes
Crotales
Vibraphone (F3)
Xylophone
Bass Drum
Cymbals
Tom-Toms
Other
|
| Harp |
1 |
- |
| Keyboard |
2 |
Piano
Synthesizer
|
| Other instruments and playing techniques |
| fisarmonica (accordion), tamburo militare, piatto sospeso (medio), campanelli, windchimes, flexatone, synthesizer SY 77 |
|
Equipment |
| Sound electronics |
|
| Visuals |
|
|
Notes
| Programme notes |
The composition dolce furioso for chamber orchestra was written in 2003. Its first performance was later that year, on 8th of April, as a part of the Music Biennale Zagreb. Martyn Brabbins conducted the british ensemble London Sinfonietta. On that occasion, the composer himself wrote about the piece: „As the title says, the idea of the piece is continous and persistant balancing of rough and smooth, dark and light, „male“ and „female“ segments, which in a certain way vary the classical motivic-thematic principle of confronting the two extremes, as a ground for vivacity and tension of musical happening. In twenty connected numbers the confrontation of two extreme structures goes on in a similar way, at first, but always differently – from a few shimmering explosions, rough, almost disfigured march paraphrase, intentionally subverted quote from the author's earlier jazz part, an attempt to reach the eternal melody which climbs up to infinity (and then takes the same time to fall down) to polimetric and politonal „furious“ fragments that always find resonance in their own, seemingly calm, lyrical echo.“
|
La velocidad de las tinieblas
Basic information
| Composer |
Rathé, Filip |
| Duration |
13 min. |
| Year of composition |
2005 |
| First performance (year) |
2005 |
| First performance (venue) |
TRANSIT FESTIVAL (B, Leuven) |
| First performance (performers) |
Spectra Ensemble, Wendy Nieper |
| Submitter |
Spectra Ensemble |
| Publisher |
|
| Conductor |
Obligatory |
| Soloist(s) |
Speaking voice (vocal percussion and air-sounds only), |
Instruments
|
Musicians |
1st player |
2nd player |
| Violin | 2 | | |
|---|
| Viola | 1 | | |
|---|
| Cello | 1 | | |
|---|
| Double-bass | 1 | 5-string | |
|---|
| Flute |
1 |
C
Piccolo
|
|
| Clarinet |
1 |
B-flat
Bass
|
|
| Horn (F) |
1 |
|
|
| Trombone |
1 |
Tenor
|
|
|
Musicians |
Instruments |
| Percussion |
1 |
Crotales
Glockenspiel
Vibraphone (C3)
Timpani
Xylophone
Bass Drum
Wood Blocks
Other
|
| Keyboard |
2 |
Piano
Accordion
|
| Other instruments and playing techniques |
| Voice amplified with microphone(s) attached to cheek (soft throughout)
Percussion also requires 4 PVC-tubes of different lenght and a vessel filled with water. |
|
Equipment |
| Sound electronics |
Ampflied ensemble (no electronics)
|
| Visuals |
|
|
Notes
| Programme notes |
(ENGLISH TRANSLATION coming soon)
La velocidad de las tinieblas
Bij de studie naar het vocale werk van Lucien Goethals (°1931) vond ik één van zijn favoriete citaten van de Spaanse dichter León Felipe (1884-1968):
“Tú que sabes lo que pesan las piedras
y lo que corre el viento...
¿Cuál es la velocidad de las tinieblas
y la dureza del silencio?”
(Jij die weet hoeveel de stenen wegen en hoe de wind waait, zeg mij, wat is de snelheid van de duisternis en de hardheid van de stilte.)
Het gedicht “Yo soy el gran blasfemo”, waaruit het citaat komt, sluit inhoudelijk sterk aan bij de politiek geëngageerde assertieve poëzie van Claudio Rodriguez (1934-1999), waarvan “Cascaras” (in 1969 door Lucien Goethals getoonzet) een voorbeeld is.
Wanneer de zinsnede echter uit haar context wordt gelicht, verdwijnt de verwijtende toon waarin het oorspronkelijk weerklonk. Op deze wijze leerde ik het citaat kennen dat me sindsdien niet meer heeft losgelaten. Voor mij betekent het op die manier zoveel als een liefdevolle terechtwijzing van intellectuele hybris.
Door vrije associatie werden de delen van de tekst gelinkt aan de vier elementen (Empedocles) die op hun beurt aanleiding gaven tot verdere associaties die de basis vormen voor de verschillende lijnen die in het stuk weerklinken.
In “La velocidad de las tinieblas” probeer ik de toch wel geheimzinnige vraag naar de snelheid van de duisternis en hardheid van de stilte sonoor om te zetten. Hierbij kwamen verschillende nieuwe vragen aan de orde. Hoe statisch is verandering en hoe beweeglijk is stilstand? Hoe veranderlijk is verandering? Daarbij denk ik aan de schijntoestanden van de sterrenhemel of wateroppervlakken. Ook de visuele impressies van de schilderijen van Rothko, de etsen van Escher of de effecten van een stroboscoop vormden een uitgangspunt bij het werk aan deze compositie.
Meer nog dan het sonoor verklanken (zonder gebruik van de eigenlijke tekst) van het citaat in haar afzonderlijke specifieke delen, wou ik met dit stuk de intellectuele en emotionele toestand proberen vast te houden waarin ik me bevond toen ik voor het eerst deze uitdagende terechtwijzing las.
|
| Additional notes |
PDF version of SIBELIUS-file coming soon
Text by:
León Felipe (1884-1968)
“Tú que sabes lo que pesan las piedras
y lo que corre el viento...
Di me
¿Cuál es la velocidad de las tinieblas
y la dureza del silencio?”
|
Cardhu
Basic information
| Composer |
Brewaeys, Luc |
| Duration |
13 min. |
| Year of composition |
2008 |
| First performance (year) |
2008 |
| First performance (venue) |
TRANSIT FESTIVAL (B, Leuven) |
| First performance (performers) |
Spectra Ensemble |
| Submitter |
Spectra Ensemble |
| Publisher |
|
| Conductor |
Obligatory |
| Soloist(s) |
, |
Instruments
|
Musicians |
1st player |
2nd player |
| Violin | 1 | | |
|---|
| Viola | 1 | | |
|---|
| Cello | 1 | | |
|---|
| Flute |
1 |
C
|
|
| Clarinet |
1 |
B-flat
Bass
|
|
| Trombone |
1 |
Bass
|
|
|
Musicians |
Instruments |
| Percussion |
1 |
Vibraphone (F3)
|
| Keyboard |
1 |
Piano
|
| Other instruments and playing techniques |
|
|
Equipment |
| Sound electronics |
|
| Visuals |
|
|
Notes
| Additional notes |
"Cardhu" is the penultimate work in my series of pieces bearing a 'single malt whisky' title. The work was commissioned by the Transit Festival for New Music in Leuven (B) and by the Spectra Ensemble who first perform the work on October 24, 2008 at the opening concert of the 2008 edition
of the festival, conducted by Filip Rathé.
The piece is scored for 8 players and is -in the first place- a further exploration of the spectral/harmonic preoccupations which I -in a way- discovered in my opera "L'uomo dal fiore in bocca" about two years ago. The music is
still basically spectral, of course, but I extend the harmonies by frequent use of extra quarter-tones which aren't necessarily part of the basic overtone series. I found out that the music remained surprisingly consonant, in spite of these adjunctions, and I wanted to go further into this exploration, also by the use of lots of (mostly quite slow) glissandi. On the other hand I've recently been quite preoccupied by the concept of motion in spectral music and I also try
to extend that idea in this work. The tempi are fluctuating, it's the first time in ages that I've written accelerandi and ritardandi, and I suppose it certainly will have quite an influence on the feeling of the music. Finally, some melodic aspects also come forward, albeit in a
less prominent way. The fast passages are at first very brief, almost like signals for the slower music following each time, but in the course of the piece these passages gain importance and gradually become longer to culminate at the Golden Section of the work. Towards the end
the difference between these 'fast' and 'slow(er)' music is almost abolished and the piece ends -so to speak- in "total harmony" with itself.
The score is dedicated to Mark Delaere, director of the festival and to Filip Rathé, the conductor of the Spectra Ensemble and
also a great composer and friend. By Luc Brewaeys
|
Colours
Basic information
| Composer |
Van Parys, Annelies |
| Duration |
12 min. |
| Year of composition |
2005 |
| First performance (year) |
|
| First performance (venue) |
|
| First performance (performers) |
|
| Submitter |
Spectra Ensemble |
| Publisher |
|
| Conductor |
Obligatory |
| Soloist(s) |
, |
Instruments
|
Musicians |
1st player |
2nd player |
| Violin | 1 | | |
|---|
| Viola | 1 | | |
|---|
| Cello | 1 | | |
|---|
| Flute |
1 |
C
Piccolo
G alto
|
|
| Clarinet |
1 |
B-flat
Bass
|
|
|
Musicians |
Instruments |
| Percussion |
2 |
Vibraphone (F3)
Bass Drum
Cymbals
Tamtam
Tom-Toms
Wood Blocks
Other
|
| Keyboard |
1 |
Piano
|
| Other instruments and playing techniques |
|
|
Equipment |
| Sound electronics |
|
| Visuals |
|
|
Notes
| | | | | | | |
