النوتة الموسيقية $66.95

الاصلي

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.

ترجمة

وحشية تحت عاش. والتر فيلدمان. -B شقة البوق الموسيقى ورقة. باس الموسيقى ورقة الكلارينت. الموسيقى ورقة التشيلو. الانجليزية القرن الموسيقى ورقة. الموسيقى ورقة القيثارة. الموسيقى ورقة المزمار. الموسيقى ورقة الترومبون. الموسيقى ورقة طوبا. الفيولا الموسيقى ورقة. الموسيقى ورقة الكمان.

الاصلي

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.

ترجمة

وحشية تحت عاش. la memoire. ألحان والتر فيلدمان. For viola solo, large ensemble in 6 groups. الأجهر الكلارينيت. باس الكلارينيت. 2 قرون. english horn, bassoon, bassoon. contrabassoon. مزمار. english horn, violin, cello, contrabass. 2 الأبواق، 2 الترومبون، طوبا. مزمار. bass clarinet, harp,. فيلدمان. monstrueuse vecut dans le cadre-. النتيجة دراسة. لغة. كل اللغات. تتألف 2002-2004. 74 صفحات. مدة 23 دقيقة. نشرته دار نشر كاروس. CA.1632607. ISBN M-007-10812-0. مع اللغة. كل اللغات. 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". الفضاء. 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.