Trans
figured Life - Still
Life, Op. 165 (violin and
piano) - David
Braid
I am keen on
concise musical forms
such as Prelude and
Fugue, where there is one
clear straightforward
idea, followed by another
that is more involved and
developed.
In
keeping with that idea,
this work consists of two
distinct pieces, the
first - Transfigured Life
- aims to draw in the
listener with its quick,
dancing rhythm and
simple, melodic violin
part. It 'transfigures'
via a few short solo
piano interludes into
just two alternating
notes to end - which are
the core of the original
idea, now made clear by
clearing everything else
out of the
way.
The second
piece - Still Life -
retains its sense of
stillness through an
uncomplicated piano line
that gives lots of space
for the violin's
contrasting (but again
simple) part. As an
absolute, not
programmatic, piece the
title refers to the
atmospheric colour and
pacing only; it's up to
the listener to see
'Still life' of their
choosing in their own
mind.
A note on
performance: Despite
my reference to 'simple'
lines, and the work's
determined avoidance of
mainstream modernist
squeak - the work has
certain performance
challenges of phrasing
and ensemble that
requires considerable
skill and musicianship.
The work has had the
privilege of being
recently recorded by
violinist Ezgi
Sarıkcıoğlu and
pianist Rossitza
Stoycheva, and is
available on all major
platforms:
(13 Recital Pieces in First Position for Violin and Piano or Two Violins). Edite...(+)
(13 Recital Pieces in
First Position for Violin
and Piano or Two
Violins). Edited by Kurt
Sassmannshaus / Christoph
Sassmannshaus / Melissa
Lusk. For violin, piano.
Stapled. Barenreiter's
Sassmannshaus. Level 2.
Solo part and performance
score. Published by
Baerenreiter Verlag
Violin and Piano SKU: IS.VLP4190EM Composed by Flor Alpaerts. Strings - V...(+)
Violin and Piano
SKU:
IS.VLP4190EM
Composed
by Flor Alpaerts. Strings
- Violin. Metropolis
Music Publishers
#VLP4190EM. Published by
Metropolis Music
Publishers
(IS.VLP4190EM).
ISBN
9790365041909.
In
1901, Flor Alpaerts
finished his music
studies at the Flemish
School of Music of
Antwerp, which later
became the Royal Flemish
Conservatory. He studied
harmony and composition
with Jan Blockx. In 1903
he became professor at
this institute and from
1934 until 1941 its
director. For one season
(1922-1923) he was also
director of the Royal
Flemish Opera House of
Antwerp together with the
bass Arthur Steurbaut.
His fame, as a composer
and a conductor, came
shortly after World War
I, when he succeeded
Eduard Keurvels in 1919
as conductor of the
concerts organized by the
Royal Zoological Society
of Antwerp and as
artistic director of the
Peter Benoit Fonds. He
also conducted the choral
group Arti Vocali. As a
composer, Flor Alpaerts
was the leading figure in
the Flemish
impressionistic movement,
utilizing an
impressionism that came
closer to Richard Strauss
and Ottorino Respighi
than to Claude Debussy. A
highlight in this
direction was the
symphonic poem Pallieter
(1921-1924). With his
suite James Ensor,
inspired by four works of
the Ostend painter, he
created an
expressionistic work. In
his later compositions he
turned to
neo-classicism.
(20 Recital Pieces in First Position for Violin and Piano or Two Violins). Edite...(+)
(20 Recital Pieces in
First Position for Violin
and Piano or Two
Violins). Edited by Kurt
Sassmannshaus / Christoph
Sassmannshaus / Melissa
Lusk. For violin, piano.
Stapled. Barenreiter's
Sassmannshaus. Level 2.
Solo part and performance
score. Published by
Baerenreiter Verlag
Violin and piano - intermediate SKU: HL.49015725 Overture D major....(+)
Violin and piano -
intermediate
SKU:
HL.49015725
Overture D major.
Composed by Franç
and ois Adrien Boieldieu.
Edited by Willi Draths.
This edition: Saddle
stitching. Sheet music.
Einzelausgaben (Single
Sheets). Classical. 16
pages. Schott Music #ED0
3423. Published by Schott
Music (HL.49015725).
Violin, piano SKU: BR.EB-9250 Composed by Nicolaus A. Huber. Solo instrum...(+)
Violin, piano
SKU:
BR.EB-9250
Composed
by Nicolaus A. Huber.
Solo instruments;
stapled. Edition
Breitkopf.
World
premiere: Toronto,
November 17, 2016Written
for the Duo Wapiti
(Genevieve Liboiron,
Daniel Anez)
New
music (post-2000); Music
post-1945. Performance
score. Composed 2016. 12
pages. Duration 12'.
Breitkopf and Haertel #EB
9250. Published by
Breitkopf and Haertel
(BR.EB-9250).
ISBN
9790004185506. 10 x 12.5
inches.
Whereas
Nono considered the world
to be only fragmentarily
analyzable, so-called
consumer capitalism
increasingly intrudes
upon ego structures, by
fragmenting them to the
point of: assumed
insufficiency, i.e., was
consumption a form of
infiltration?, or: in
television you can see
models licking face cream
because it's so rich etc.
(retranslated), as
Meredith Haaf cited in
her book review (SZ /
23.05.2016 Alexandra
Kleeman: You Too Can Have
A Body Like Mine) , and
to the point of similar
perfection-senselessness.
Music doesn't do things
by halves. Even when
events or notes are
puffed up, they can
retain elegance and
significance. Other ego
amplitudes are of
violinistic nature or are
favourite memories -
Paganini's Capricci,
Stockhausen's Studie I,
Steve Reich, the tone C
and similar things. The
craziest egos are
quantums, because at no
time are they identical
with themselves. They can
entangle and superpose,
are nonlocal, etc.
Although the sound
character in this Duo is
fairly open, I believe I
succeeded in making
probability waves of
harmonic stopovers
perceptible. This means
hearing without analyzing
and without constantly
measuring. Nonlocality -
without messenger
particles - means no
harmonic steps, but with
the capacity to interact.
(Nicolaus A. Huber, May
2016)
World
premiere: Toronto,
November 17, 2016 Written
for the Duo Wapiti
(Genevieve Liboiron,
Daniel Anez).
