Industrial Wastelands:
Gespeichert in:
| 1. Verfasser: | |
|---|---|
| Format: | Elektronisch Partitur Buch |
| Sprache: | English |
| Veröffentlicht: |
Paris
BabelScores
2010
|
| Schlagworte: | |
| Online-Zugang: | BSB01 Volltext |
| Beschreibung: | Since its appearance at the beginning of the 18th century, the grand pianounderwent a series of symbolic rebirths.Each of them redefined the perception of "pianosound" - changing it from "gravecembalo col pianoe forte" of early pianobuilders to "singing", "orchestral" and "pittoresque" sound of romantic era, then to "percussive" and "barbarous" modernist one and then, at last, to "mechanical", "metallic" sound of years after World War I, inspired by the idea of seeing instruments as devices, gadgets (not as living entities), full of complicated machinery, which should reveal its construction through the new sound.That's how inside pianotechniques were invented.Composers began their almost century-long travel to the very deep of this new territory behind pianokeyboard.Unmapped, unpopulated, living its own inner life, it is still waiting for pioneers to explore its uncharted areas - for some still do exist there.This piece takes a look at the pianoas a child of post-industrial age.Its old mechanism is full of squeaks and scrathes like old mansion full of ghosts.Echo of any sound lasts long and goes around freely, unimpeded, reflecting over and over from metal and wood, like in empty debris of deserted Detroit's facilities.Demarcation line between splendid facade of "la belle epoque" of modern megalopolis and its dark, unmanned industrial backyard goes strictly through piano, breaking it all apart.So open the pianolid, if you will - and pass the gates to forgotten industrial temple, where abandoned machines serve the silent, repetitive liturgy for themselves.***The piece was written for Michael Dubov, soloist of Moscow Contemporary Music Ensemble, as a part of his solo recital at "Klangspuren" festival in Graz, Austria.WP, nevertheless, was four years later, in Saint-Petersburg, by Natalia Solovieva.Since that time the piece was performed also in Russia and in Italy.Demo-version was recorded by author in September 2010.https:--soundcloud.com-aesech-industrial-wastelands-for-piano-solo |
| Beschreibung: | 1 Online-Ressource (1 Partitur (6 Seiten)) |
Internformat
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| 500 | |a Since its appearance at the beginning of the 18th century, the grand pianounderwent a series of symbolic rebirths.Each of them redefined the perception of "pianosound" - changing it from "gravecembalo col pianoe forte" of early pianobuilders to "singing", "orchestral" and "pittoresque" sound of romantic era, then to "percussive" and "barbarous" modernist one and then, at last, to "mechanical", "metallic" sound of years after World War I, inspired by the idea of seeing instruments as devices, gadgets (not as living entities), full of complicated machinery, which should reveal its construction through the new sound.That's how inside pianotechniques were invented.Composers began their almost century-long travel to the very deep of this new territory behind pianokeyboard.Unmapped, unpopulated, living its own inner life, | ||
| 500 | |a it is still waiting for pioneers to explore its uncharted areas - for some still do exist there.This piece takes a look at the pianoas a child of post-industrial age.Its old mechanism is full of squeaks and scrathes like old mansion full of ghosts.Echo of any sound lasts long and goes around freely, unimpeded, reflecting over and over from metal and wood, like in empty debris of deserted Detroit's facilities.Demarcation line between splendid facade of "la belle epoque" of modern megalopolis and its dark, unmanned industrial backyard goes strictly through piano, breaking it all apart.So open the pianolid, if you will - and pass the gates to forgotten industrial temple, where abandoned machines serve the silent, repetitive liturgy for themselves.***The piece was written for Michael Dubov, soloist of Moscow Contemporary Music Ensemble, as a part of his solo recital at "Klangspuren" festival in Graz, Austria.WP, nevertheless, was four years later, in Saint-Petersburg, | ||
| 500 | |a by Natalia Solovieva.Since that time the piece was performed also in Russia and in Italy.Demo-version was recorded by author in September 2010.https:--soundcloud.com-aesech-industrial-wastelands-for-piano-solo | ||
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Datensatz im Suchindex
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| author | Svetlichny, Anton 1982- |
| author_facet | Svetlichny, Anton 1982- |
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| author_sort | Svetlichny, Anton 1982- |
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| format | Electronic Musical Score Book |
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| id | DE-604.BV048423229 |
| illustrated | Not Illustrated |
| index_date | 2024-07-03T20:27:53Z |
| indexdate | 2024-07-10T09:37:47Z |
| institution | BVB |
| language | English |
| oai_aleph_id | oai:aleph.bib-bvb.de:BVB01-033801511 |
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| physical | 1 Online-Ressource (1 Partitur (6 Seiten)) |
| psigel | ZDB-1-BCM |
| publishDate | 2010 |
| publishDateSearch | 2010 |
| publishDateSort | 2010 |
| publisher | BabelScores |
| record_format | marc |
| spelling | Svetlichny, Anton 1982- cmp Industrial Wastelands Anton Svetlichny Paris BabelScores 2010 1 Online-Ressource (1 Partitur (6 Seiten)) ntm rdacontent c rdamedia cr rdacarrier Since its appearance at the beginning of the 18th century, the grand pianounderwent a series of symbolic rebirths.Each of them redefined the perception of "pianosound" - changing it from "gravecembalo col pianoe forte" of early pianobuilders to "singing", "orchestral" and "pittoresque" sound of romantic era, then to "percussive" and "barbarous" modernist one and then, at last, to "mechanical", "metallic" sound of years after World War I, inspired by the idea of seeing instruments as devices, gadgets (not as living entities), full of complicated machinery, which should reveal its construction through the new sound.That's how inside pianotechniques were invented.Composers began their almost century-long travel to the very deep of this new territory behind pianokeyboard.Unmapped, unpopulated, living its own inner life, it is still waiting for pioneers to explore its uncharted areas - for some still do exist there.This piece takes a look at the pianoas a child of post-industrial age.Its old mechanism is full of squeaks and scrathes like old mansion full of ghosts.Echo of any sound lasts long and goes around freely, unimpeded, reflecting over and over from metal and wood, like in empty debris of deserted Detroit's facilities.Demarcation line between splendid facade of "la belle epoque" of modern megalopolis and its dark, unmanned industrial backyard goes strictly through piano, breaking it all apart.So open the pianolid, if you will - and pass the gates to forgotten industrial temple, where abandoned machines serve the silent, repetitive liturgy for themselves.***The piece was written for Michael Dubov, soloist of Moscow Contemporary Music Ensemble, as a part of his solo recital at "Klangspuren" festival in Graz, Austria.WP, nevertheless, was four years later, in Saint-Petersburg, by Natalia Solovieva.Since that time the piece was performed also in Russia and in Italy.Demo-version was recorded by author in September 2010.https:--soundcloud.com-aesech-industrial-wastelands-for-piano-solo Instrumental Music https://www.babelscores.com/?option=com_virtuemart&Itemid=692&view=productdetails&virtuemart_product_id=447&virtuemart_category_id=1 Verlag URL des Erstveröffentlichers Volltext piano 1 |
| spellingShingle | Svetlichny, Anton 1982- Industrial Wastelands |
| title | Industrial Wastelands |
| title_auth | Industrial Wastelands |
| title_exact_search | Industrial Wastelands |
| title_exact_search_txtP | Industrial Wastelands |
| title_full | Industrial Wastelands Anton Svetlichny |
| title_fullStr | Industrial Wastelands Anton Svetlichny |
| title_full_unstemmed | Industrial Wastelands Anton Svetlichny |
| title_short | Industrial Wastelands |
| title_sort | industrial wastelands |
| url | https://www.babelscores.com/?option=com_virtuemart&Itemid=692&view=productdetails&virtuemart_product_id=447&virtuemart_category_id=1 |
| work_keys_str_mv | AT svetlichnyanton industrialwastelands |