Basic information
| Conductor |
No |
| Soloist(s) |
, |
Instruments
|
Musicians |
1st player |
2nd player |
| Violin | 2 | | |
|---|
| Viola | 1 | | |
|---|
| Cello | 1 | | |
|---|
| Other instruments and playing techniques |
|
|
Equipment |
| Sound electronics |
|
| Visuals |
|
|
Notes
| Programme notes |
Avec Robert et Clara dans la coulisse
|
e
for bass clarinet, marimba, violin and piano
Basic information
| Composer |
Jablonski, Maciej |
| Duration |
12 min. |
| Year of composition |
2004 |
| First performance (year) |
0 |
| First performance (venue) |
None |
| First performance (performers) |
None |
| Submitter |
Kwartludium + |
| Publisher |
|
| Conductor |
No |
| Soloist(s) |
no, |
Instruments
|
Musicians |
1st player |
2nd player |
| Violin | 1 | | |
|---|
| Clarinet |
1 |
Bass
|
|
|
Musicians |
Instruments |
| Percussion |
1 |
Marimba
|
| Keyboard |
1 |
Piano
|
| Other instruments and playing techniques |
|
|
Equipment |
| Sound electronics |
|
| Visuals |
|
|
Notes
| Programme notes |
Maciej Jabłoński remains in the circle of traditional esthetics, composing clear melodies through motivic work. Notice the classically transparent textures, full exploitation of the violin, the piano and the clarinet. It's introverted music, full of dimmed themes, cramped sounds and unfulfilled passages. The whole grows more and more tense, as the instruments were confined in a very small room. In the end, wild races begin. [Jan Topolski]
|
Torpor
for violin, bass clarinet, percussion and piano
Basic information
| Composer |
Blecharz, Wojciech |
| Duration |
11 min. |
| Year of composition |
2008 |
| First performance (year) |
2008 |
| First performance (venue) |
Jahnsporthalle, Goerlitz, Germany |
| First performance (performers) |
Kwartludium |
| Submitter |
Kwartludium + |
| Publisher |
|
| Conductor |
No |
| Soloist(s) |
no, |
Instruments
|
Musicians |
1st player |
2nd player |
| Violin | 1 | | |
|---|
| Clarinet |
1 |
Bass
|
|
|
Musicians |
Instruments |
| Percussion |
1 |
Marimba
Tom-Toms
Other
|
| Keyboard |
1 |
Piano
|
| Other instruments and playing techniques |
|
|
Equipment |
| Sound electronics |
|
| Visuals |
|
|
Notes
| Programme notes |
Torpor is a state of mental and motor inactivity with partial or total insensibility, a state of lowered physiological action, typically characterized by reduced metabolism, heart rate, respiration, and body temperature.
The composition has been written for Kwartludium Ensemble in 2008.
Text, word, symbol are basis for shaping the development of the form. Every letter of single word is connected with certain value, and can be “transposed” into: duration, pitch, timbre, articulation, dynamics, rests and other music elements. Although we hear only instruments - Torpor is sort of “sound poetry” with transformed, hidden text into the musical action – this is kind of code, encrypted “notation” of events.
Apathy, indifference, lethargy are often needed to help, to survive.
|
Rondo II
Basic information
| Composer |
Hegdal, Magne |
| Duration |
8 min. |
| Year of composition |
1989 |
| First performance (year) |
1989 |
| First performance (venue) |
Oslo Konserthus, Nordlyd |
| First performance (performers) |
Cikada |
| Submitter |
Cikada |
| Publisher |
Norwegian MIC |
| Conductor |
No |
| Soloist(s) |
, |
Instruments
|
Musicians |
1st player |
2nd player |
| Violin | 1 | | |
|---|
| Viola | 1 | | |
|---|
| Cello | 1 | | |
|---|
| Flute |
1 |
C
|
|
| Oboe |
1 |
Oboe
|
|
| Clarinet |
1 |
B-flat
|
|
|
Musicians |
Instruments |
| Percussion |
1 |
|
| Keyboard |
1 |
Piano
|
| Other instruments and playing techniques |
|
|
Equipment |
| Sound electronics |
|
| Visuals |
|
|
Notes
| Programme notes |
”Rondo II” was composed in 1989 and received its premiere by the ensemble Cicada that same year. The piece is inspired by the very advanced form structure found in some of Carl Philipp Emanuel Bach’s so-called rondos, where simple and perceptible material is analyzed from different points of view, through what one might call an almost “cubist” technique of variation.
“Rondo II” consists of variations in acrostic form, that is to say that the very first chord in all the variations together form the musical theme of the piece. In terms of compositional technique, the piece may be described as a “dialogue with chance”; chance operations are used to establish a framework where the theme is more or less changed or reduced, but which also offers the opportunity to present additional material. The result is a kind of interplay between (predetermined) construction and freedom – the latter being not least audible in the instrumentation.
|
Neon
Basic information
| Composer |
Davies, Tansy |
| Duration |
10 min. |
| Year of composition |
2004 |
| First performance (year) |
2004 |
| First performance (venue) |
Dockyard Church, Chatham |
| First performance (performers) |
Composers Ensemble |
| Submitter |
London Sinfonietta |
| Publisher |
Faber |
| Conductor |
Obligatory |
| Soloist(s) |
, |
Instruments
|
Musicians |
1st player |
2nd player |
| Violin | 1 | | |
|---|
| Cello | 1 | | |
|---|
| Double-bass | 1 | 4-string | |
|---|
| Clarinet |
1 |
Bass
|
|
| Saxophone |
1 |
Soprano
|
|
|
Musicians |
Instruments |
| Percussion |
1 |
|
| Keyboard |
1 |
Electric piano
|
| Other instruments and playing techniques |
|
|
Equipment |
| Sound electronics |
Ampflied ensemble (no electronics)
|
| Visuals |
|
|
Notes
Phoenix
Basic information
| Composer |
Causton, Richard |
| Duration |
12 min. |
| Year of composition |
2006 |
| First performance (year) |
|
| First performance (venue) |
|
| First performance (performers) |
|
| Submitter |
London Sinfonietta |
| Publisher |
OUP |
| Conductor |
No |
| Soloist(s) |
, |
Instruments
|
Musicians |
1st player |
2nd player |
| Violin | 1 | | |
|---|
| Cello | 1 | | |
|---|
| Flute |
1 |
C
|
|
| Clarinet |
1 |
B-flat
|
|
| Other instruments and playing techniques |
|
|
Equipment |
| Sound electronics |
|
| Visuals |
|
|
Notes
Five Famous Adagios
Basic information
| Composer |
Bailie, Joanna |
| Duration |
14 min. |
| Year of composition |
2006 |
| First performance (year) |
2006 |
| First performance (venue) |
LSO St.Lukes |
| First performance (performers) |
London Sinfonietta |
| Submitter |
London Sinfonietta |
| Publisher |
BMIC |
| Conductor |
No |
| Soloist(s) |
, |
Instruments
|
Musicians |
1st player |
2nd player |
| Violin | 2 | | |
|---|
| Viola | 1 | | |
|---|
| Cello | 1 | | |
|---|
| Other instruments and playing techniques |
|
|
Equipment |
| Sound electronics |
|
| Visuals |
|
|
Notes
FEED-BACK
Basic information
| Composer |
Drouin, Geoffroy |
| Duration |
10 min. |
| Year of composition |
2005 |
| First performance (year) |
2005 |
| First performance (venue) |
Église des Rosaird, Rezé |
| First performance (performers) |
Ensemble TM+ |
| Submitter |
court-circuit |
| Publisher |
|
| Conductor |
No |
| Soloist(s) |
, |
Instruments
|
Musicians |
1st player |
2nd player |
| Violin | 1 | | |
|---|
| Viola | 1 | | |
|---|
| Cello | 1 | | |
|---|
| Flute |
1 |
C
|
|
| Clarinet |
1 |
B-flat
|
|
| Other instruments and playing techniques |
|
|
Equipment |
| Sound electronics |
|
| Visuals |
|
|
Notes
| Programme notes |
Commande d’État à l’attention de l’ensemble TM+, Feed-back joue essentiellement sur la notion d’interaction entre les instruments. À partir d’une note centrale, point de diffraction de la musique, une écriture relativement dense et polyphonique se déploie. Les instruments se combinent alors tour à tour, ou aux contraires émergent en tant que solistes. Après une réexposition du matériau initial, filtré par des modes de jeu instrumentaux particuliers (souffle seul aux bois, jeu sans pression d’archet pour les cordes, notes étouffées au piano), une nouvelle section met en valeur des séquences instrumentales solistes. Un retour progressif à la densité initiale s’amorce alors progressivement. Le matériau est ici fragmenté, déconstruit, pour être recomposé dans de nouveaux éléments thématiques. Après un dernier point culminant, une courte cadence au piano nous ramènera à un climat plus détendu. Répartie dans des registres extrêmes des instruments, la partition se conclura alors dans un ultime élan.
|
| Additional notes |
Commissioned by l'Etat, for the 50th anniversary of La Cité Radieuse de Rezé (Loire-Atlantique), of Le Corbusier
|
Syntax
Basic information
| Composer |
Kruse, Bjørn |
| Duration |
12 min. |
| Year of composition |
1987 |
| First performance (year) |
1988 |
| First performance (venue) |
Oslo |
| First performance (performers) |
Tone Hagerup, Einar Fjærvoll, Bjørn Rabben |
| Submitter |
Cikada |
| Publisher |
Norwegian MIC |
| Conductor |
No |
| Soloist(s) |
, |
Instruments
|
Musicians |
1st player |
2nd player |
| Clarinet |
1 |
B-flat
|
|
|
Musicians |
Instruments |
| Percussion |
2 |
|
| Other instruments and playing techniques |
|
|
Equipment |
| Sound electronics |
|
| Visuals |
|
|
Notes
| Programme notes |
”Syntax” was commissioned by the clarinetist Tone Hagerup, and was premiered at her debut concert in Oslo 1988. The title reflects more the composition process itself, than the character of the piece. Bjørn Kruse says: "I was looking for an inner consistency or narrativity, rather than a larger dramaturgical model. I have always been fascinated by improvisation, both as such and as the foundation for the creative process. Thus, im my music, more often than not, one will find the search for a balance between spontaneous events and a planned strategy."
|
| Additional notes |
Mp3 taken from: ALBEDO, ALBCD005 (1993)
|
AbUno, op. 24
Basic information
| Composer |
Thoresen, Lasse |
| Duration |
16 min. |
| Year of composition |
1992 |
| First performance (year) |
1992 |
| First performance (venue) |
Oct. 5th 1992 |
| First performance (performers) |
Cikada |
| Submitter |
Cikada |
| Publisher |
Norwegian MIC |
| Conductor |
No |
| Soloist(s) |
, |
Instruments
|
Musicians |
1st player |
2nd player |
| Violin | 2 | | |
|---|
| Viola | 1 | | |
|---|
| Cello | 1 | | |
|---|
| Flute |
1 |
C
|
|
| Clarinet |
1 |
B-flat
|
|
|
Musicians |
Instruments |
| Percussion |
1 |
|
| Keyboard |
1 |
Synthesizer
|
| Other instruments and playing techniques |
|
|
Equipment |
| Sound electronics |
|
| Visuals |
|
|
Notes
| Programme notes |
AbUno utforsker tonalt de 48 laveste deltonene. Datamaskinen har tjent meg som hjelpemiddel til å lytte til og improvisere med de mange ulike intervaller og intervallkombinasjoner i dette tonetilfanget. En viktig funksjon av dette arbeidet har vært at jeg ble i stand til å forestille meg eksakt det klanglige resultat av viss kombinasjoner mikrotonale intervaller, noe som dannet forutsetning for den videre intuitive komponeringsprosessen. Jeg tror nemlig det forholder seg slik at den musikalske intuisjon har den menneskelige hukommelse som sitt første nedslagsfelt, og at et viktig formål med det kompositoriske forarbeidet er å legge inn ny informasjon i denne hukommelsen.
I én tone bor mange andre . Forholdet mellom disse deltonene er lagt til grunn for forhold mellom samtlige tonehøyder og disposisjon av tonale plan i AbUno. Fra ett punkt myldrer fenomener frem, til ett punkt myldrer de tilbake. Verden strømmer fra en annen verden inn i en annen verden, en helhet som bare forstås i fragmenter. AbUno består av en rekke bruddflater.
|
| Additional notes |
Mp3 taken from: AURORA, ACD4968
|
| | | | | | | | | |
