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Originalno

tellement froid que. Walter Feldmann. Flute sheet music.

Prevod

tako mrzlo, da. Walter Feldmann. Flavta note.

Originalno

tellement froid que. georgiques I. Composed by Walter Feldmann. For bass flute, electronics, scene. This edition. Paperbound. Feldmann. tellement froid que-. georgiques I. Full score. Language. all languages. Composed 1995-96. 66 pages. Duration 20 minutes. Published by Carus Verlag. CA.1631000. With Language. all languages. 1989. Stay in Aix-en-Provence, France, doing a language course. Reading, discussing and analyzing Les Georgiques. this pursuit is going to be the foundation of the multiple intellectual and literary levels of my composing. THE WOODEN PLATFORM IS COVERED WITH FINE WHITE SAND. OR SALT. , THE TWO SHELVES WITH BLACK CLOTH. At the time I work on my first serious piece, still a far cry from the under-standing of writing music I have today. " tellement froid que ". georgiques I. for bass flute, electronics and scene. 1995-96. , sections 1-7. " comme si le froid ". georgiques II. for baritone saxophone, timpani and piano. 1998. , sections 18-24. " n'etait le froid ". georgiques III. for orchestra. 2000-2002. , sections not yet decided. THE INTERPRETER WILL BE DRESSED IN BLACK AND WHITE, MAINLY WHITE IF BLUISH LIGHT IS AT HAND. The enormously rich vocabulary and the accuracy of expression-in temporal, spatial and material terms-is particularly impressive. To comprehend all of it, a "reading" on three different levels is called for. a first reading of one passage, then the acquisition of unknown vocabulary. thirdly a repeated-knowing-reading, which points out the utopia of precise expression. The text is treated in a rather problematic. cold. "le froid". manner. it's not the semantic content that is primarily dominant, but rather the outward appearance, the "mise en page" and the syntactic structure. THE INTERPRETER ENTERS THE STAGE WITH ALL THE FLUTES. HE WILL PLAY DURING THE CONCERT AND DEPOSITS THEM-EXCEPT FOR THE BASS FLUTE-ON SHELF B. IF. HE ONLY PLAYS THIS PIECE,. HE SHOULD PUT THE PROGRAMME OF THE CONCERT THERE. IN ANY CASE THE INSTRUCTIONS IN BAR 195 MUST BE FOLLOWED. In concrete terms the 10 centimetres of a line in the "minuit" edition correspond to 10 seconds of musical structure. which is three times as slow as the average reading speed. Only seven years later is the term. expression "casse ferique" changed into "casse ferrique", and thus its secret is revealed, which almost becomes-due to its unreadability-the key to the planned musical cycle. The text is measured from section to section. big format. each section is marked with a continuous, "cold" chord by the bass flute, played on tape recorder. , from full stop to full stop. new entry of keynote material. , from comma to comma. tripling of continuous resonances. etc. DURING THE PERFORMANCE UP TO BAR 195, THE INTERPRETER WILL TRY-IN A KIND OF THEATRICAL ADAPTATION-TO EXPRESS HIS. HER OWN FEELING OF IRREPRESSIBLY GROWING FRUSTRATION. FROM BAR 195 ONWARDS. HE WILL DEFINITELY HAVE PUT UP WITH THE BASS FLUTE. Brackets in the text bring about a reduction of sound. the differentiating micro tones are no longer used. , the syntactical progression to subordinate clauses of the remotest degree has its immediate effect on dynamics. degree of volume. Then. the perception of a logical and yet erratic syntax, vastly progressive layers of subordinate clauses and brackets. lowering tone of voice. , a polyphony of "memoire", which leads to a maelstrom of attention, a tonally centric. concentrated. main material. and progressive. subordinate and brackets-material. reading, listening and proceeding. The different levels are constantly in touch-transferring the sensuous moment of scenes of bodily encounter. Tryptique. that are evoked again and again-in perpetual excitement of text and imagination, memory and remembering sensitivity. THE BODY MOVEMENTS AND FIXATION. "FIGE". , BOTH CLEARLY PERCEPTIBLE, WILL EVOKE AND SUPPORT THE SAME EMOTIONS. The basic moods of the text will be reflected in the relationship. which is very important here. of the interpreter to the music. he is somehow at the mercy of given. and not always transparent. structures on the one hand and the complexity of musical sensations on the other, which has to be defeated inspite of exhaustion. It's not only here that semantic agreement. besides the "materialistic" structure. of music and text can be felt. On top of that there's the existential helplessness in view of the mercilessly flowing polyphony of levels and events - as a mirror of this there are the remembered scenes of the Flemish cold in the second chapter. Les Georgiques. The interpreters are confronted with unusual directions which correspond to the adjectives in the respective passages of the text. "anachronique", "engourdi", "glace et acre", "monotone et desert" etc. The possibilities of interpretation are amplified, the ability to perceive and personal reaction is opened. The impression of this inexorability is multiplied in the extremest way by the fact that the particular layers can be found in Simon's complete works. It's a continuous work of art in which each novel turns into a chapter of a complex, cyclic whole. its title denoting only one main strand, as it were. A personal comment is made also as regards the clearly defined stage. the mise en scene points out the extra-musical elements and the correlation between text, human being and music. THE INTERPRETER IS ASKED TO MOVE FREELY WITHIN A DEFINED SPOT WITHOUT LOOKING "ARTIFICIAL". SOUNDS CAUSED BY THE FEET MOVING ON THE SAND ARE WELCOME DURING THE WHOLE PIECE. And here the idea of a cycle is born, an attempt to transfer these nuances of memorized structures, this clarity and coldness, to transform the text into musical material. Walter Feldmann.

Prevod

tako mrzlo, da. georgiques I. Sestavljajo Walter Feldmann. Za bas flavto, elektronika, scene. Ta izdaja. Paperbound. Feldmann. tako hladno. georgiques I. Polna ocena. Jezik. vsi jeziki. V sestavi 1995-1996. 66 strani. Trajanje 20 minut. Izdala Carus Verlag. CA.1631000. Z jezikom. vsi jeziki. 1989. Ostanite v Aix-en-Provence, Francija, delaš jezikovni tečaj. Branje, razpravljanje in analizo Les Georgiques. To prizadevanje se bo temelj številnih intelektualnih in literarnih ravneh moje skladanje. LESENA platforma je urejena z drobnim belim peskom. Ali sol. TUDI dve polici s črno krpo. V času, ko delam na mojem prvem resnem kosu, še vedno daleč od razumevanja za pisanje glasbe imam danes. "Tako hladno". georgiques I. za bas flavto, elektroniko in scene. 1995-1996. , Oddelki 1-7. "Kot da mraza". georgiques II. za bariton saksofon, pavke in klavir. 1998. , Oddelki 18-24. "N'etait le froid". georgiques III. za orkester. 2000-2002. Odseki še ni odločila. Tolmačenje je oblečena v črno-belo, predvsem bela ČE modrikasto LIGHT je pri roki. Zelo bogat besednjak in natančnost izražanja-in časovnih, prostorskih in materialnih pogojev, je še posebej impresiven. Da bi razumeli vse to, je "branje" na treh različnih ravneh pozval. prva obravnava enega prehoda, nato pa pridobitev neznanega besedišča. tretjič ponovila-vedo-branje, ki opozarja na utopijo natančnega izražanja. Besedilo se obravnava v precej problematično. hladno. "Cold". Način. to ni semantična vsebina, ki je predvsem prevladujoča, temveč zunanji videz, "mise en stran" in skladenjska struktura. Tolmač vstopi v fazi z vsemi flavte. HE bo igral Med koncertom in vloge THEM, razen za BASS FLAVTA-na polici B. ČE. HE SAMO IGRA tem delom,. HE bi dal Programa koncertu. V VSAKEM PRIMERU navodila v BAR 195, mora slediti. Konkretno je 10 centimetrov črte v "minuit" različico ustrezajo 10 sekundah glasbene strukture. kar je trikrat počasi kot povprečna hitrost branja. Samo sedem let kasneje pa je izraz. Izraz "Casse ferique" spremenila v "Casse ferrique", in s tem se je pokazala njena skrivnost, ki skoraj ne postane zaradi svoje nečitljivost-ključ do načrtovanega glasbenega cikla. Besedilo se meri od oddelka do oddelka. veliki format. vsak del je označen z neprekinjenim, "hladno" akord, ki ga basovsko flavto, odigranih na snemalniku. , S piko na piko. nov vnos slavnostni materiala. , Z vejico, za vejico. potrojitev zveznih resonanc. itd. Med performansom DO BAR 195, bo tolmač TRY-v nekakšnem gledališke PRILAGODITEV-in izrazil. Lastnem občutku nezadržno GROWING Razočaranje. IZ BAR 195 dalje. On bo zagotovo SO PRIPRAVLJENI Z BASS FLAVTO. Nosilci v besedilu prinese zmanjšanje zvoka. razlikovanja mikro toni niso več v uporabi. , Sintaktične napredovanje do podrejenih klavzul oddaljenih stopnjo ima takojšen učinek na dinamiko. stopnja obsega. Potem. dojemanje logično in še neredno sintakso, močno napredni sloji podrejenih klavzul in konzole. znižanje ton glasu. , Polifonija "memoire", ki vodi v vrtinec pozornosti, tonally centric. koncentrirani. Glavni material. in postopno. podrejene in nosilci materiala. branje, poslušanje in postopek. Različni nivoji so nenehno v-touch prenos čutnega trenutku prizori telesne srečanja. Tryptique. da se znova in znova izzvan, v večni razburjenje besedila in domišljije, spomina in spominjanja občutljivost. Telo GIBANJE in fiksacije. "Zamrzne". , Ki jasno zaznavna, Vas bo popeljal IN podpre isto ČUSTVA. Osnovne razpoloženje besedila se bo odražalo v odnosu. ki je zelo pomembna. tolmača za glasbo. je nekako na milost in nemilost dana. in niso vedno pregledni. strukture na eni strani in kompleksnosti glasbenih senzacij na drugi strani, ki ga je treba premagati Kljub izčrpanosti. To je ne samo tukaj, da semantična sporazum. poleg "materialistično" struktura. glasbe in besedila je mogoče čutiti. Na vrhu, da obstaja eksistencialna nemoči zaradi neusmiljeno teče polifonija ravneh in dogodki - kot ogledalo temu pa so ostale v spominu prizori flamski mraz v drugem poglavju. Georgics. Tolmači se soočajo z nenavadnimi smereh, ki ustrezajo pridevniki v ustreznih delih besedila. "Anahronistično", "Numb", "led Jutro", "monotono puščava" itd. Možnosti interpretacije so dopolnjena, se odpre sposobnosti zaznavanja in osebna reakcija. Vtis tega inexorability se pomnoži v extremest način z dejstvom, da se posebne plasti najdemo v Simonovem popolnih del. To je kontinuirano umetniško delo, v katerem je vsak roman spremeni v poglavju kompleksnega, ciklična celota. njegov naslov, ki označuje le eno glavno področje, kot je bilo. Osebna pripomba je bila tudi kar zadeva jasno določeno stopnjo. mise en scene opozarja na ekstra-glasbenih elementov in korelacijo med besedila, človeško bitje in glasbo. Tolmač se naproša, da prosto gibljejo v določenem kraju samem in brez POGLED "umetna". SOUNDS ki ga povzroča NOGAMI gibljejo na pesku SO DOBRODOŠLI V ČASU cel kos. In tu se je rodila ideja o cikla, poskus, da bi prenos te nianse naučenih struktur, ta jasnost in hladnost, preoblikovati besedilo v glasbeni material,. Walter Feldmann.