This masterclass immerse us in the iridescent atmosphere of the contemporary flute repertoire with its foremost exponent and the creator of many of its techniques, Pierre-Yves Artaud. Pierre-Yves Artaud is a fascinating figure in contemporary musical creation. Equally at ease in the Classical and Ro...

Ausführliche Beschreibung

Bibliographische Detailangaben

Weitere Verfasser:	Debussy, Claude 1862-1918, Taïra, Yoshihisa 1937-2005, Ferneyhough, Brian 1943-
Format:	Elektronisch Video
Sprache:	English
Veröffentlicht:	[Place of publication not identified] La Sept Arte [1988] Radio France [1988] Com'unimage [1988]
Schlagworte:	Flute Flute music Flute music (Flutes (2)) Flute > Instruction and study Internet videos
Online-Zugang:	BSB01 Volltext
Zusammenfassung:	This masterclass immerse us in the iridescent atmosphere of the contemporary flute repertoire with its foremost exponent and the creator of many of its techniques, Pierre-Yves Artaud. Pierre-Yves Artaud is a fascinating figure in contemporary musical creation. Equally at ease in the Classical and Romantic repertoires and the most up-to-date music, he is an approachable, radiant personality, adored by his pupils and possessing a genuine aura in concert. As a man of his time, Pierre-Yves Artaud has retained its most appreciable feature: its receptiveness to all kinds of music, notably non-European musics, which he venerates. Taking as his point of departure Debussy's Syrinx (1913), which introduced the flute to modernism, he displays the open-mindedness indispensable for performing contemporary music. To this end he chooses a piece by the Japanese composer Yoshihisa Taira to discuss questions of breath, and with the complicity of the composer Brian Ferneyhough he guides us through the highly complex mysteries of Cassandra's Dream Song for solo flute (1970) in an almost comical sequence. In the 1970s and 1980s a new grammar of sound was attempting to emerge from postserialism, with languages as different as those of Messiaen, Boulez, Berio, Ligeti, Henze, and many others who were then to be heard at the Royan Festival or Donaueschingen. It was principally concerned with matters of compositional style and technique, that is to say the organisation of pitches, colours and rhythms and the notation of new modes of instrumental playing in worlds which no longer observed the conventions of tonality. Computer science was not yet really at the service of music. The IRCAM was still in its infancy practitioners of electronic music were going it alone in their studios in Milan, Cologne, and Paris. Composers sought literally unheard-of sounds in instrumental resources, considering that this was one of the only original paths that would enable them to usher new music into worlds as yet unexplored. A renewed relationship took shape between the composer and his double, the performer, and this exciting period saw the birth of stunning levels of virtuosity modernising the playing techniques of every instrument. The result was experimental works like the Sequenze of Luciano Berio, the major compositions of Brian Ferneyhough, and the more theatrical pieces of Mauricio Kagel which oblige the performers to go beyond the limits of their playing. With his flutes, Pierre-Yves Artaud was at the centre of this activity.
Beschreibung:	1 Online-Ressource (1 video file (52 min., 57 sec.)) sound, color