Orchestra Viola solo,
large ensemble in 6
groups: 1) Contrabass
clarinet/Bass Clarinet;
2) 2 Horns; 3) English
Horn, Bassoon,
Bassoon/Contrabassoon; 4)
Oboe/English Horn,
Violin, Cello,
Contrabass; 5) 2
Trumpets, 2 Trombones,
Tuba; 6) Clarinet/Bass
Clarinet, Harp,
SKU:
CA.1632607
La
memoire, fur viola solo
and und big ensemble.
Composed by Walter
Feldmann. (r)MONSTRUEUSE
VECUT DANS LE CADRE-.
Study score. Composed
2002-2004. 74 pages.
Duration 23 minutes.
Carus Verlag #CV
16.326/07. Published by
Carus Verlag
(CA.1632607).
ISBN
9790007108120. Language:
all
languages.
Commissi
oned 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. Score
available separately -
see item CA.1632600.
Anne-Marie
