Dann klingt es auf...' for piano trio
- Submitting institution
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University of Keele
- Unit of assessment
- 33 - Music, Drama, Dance, Performing Arts, Film and Screen Studies
- Output identifier
- 777
- Type
- J - Composition
- Month
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- Year
- 2016
- URL
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- Supplementary information
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- Request cross-referral to
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- Output has been delayed by COVID-19
- No
- COVID-19 affected output statement
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- Forensic science
- No
- Criminology
- No
- Interdisciplinary
- No
- Number of additional authors
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- Research group(s)
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- Proposed double-weighted
- No
- Reserve for an output with double weighting
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- Additional information
- Dann klingt es auf (2016) for piano trio was co-commissioned by the Britten Sinfonia and Wigmore Hall and arose from the composer receiving the OPUS2016 award. The work was premiered on 9 December 2016 by the Britten Sinfonia at St Andrews Hall, Norwich and was subsequently performed at Cambridge West Road Concert Hall and Wigmore Hall, London
The work set out to explore the establishment of fusion and disentanglement of contrasting timbres from the piano and strings specifically through rhythms and textures which audibly compress and stretch, shrink and expand.
The harmonic material is derived from a frequency analysis into 32 partials of a D1 piano string, stopped to produce a bell-like inharmonic spectrum. Harmonic change within the work is affected by interpolations between selected chords, explored within particular registral frames, informed by the kind of approach adopted by Harvey in avoiding parallelisms found in Webern and Boulez. The use of the frequency analysis within the composition led to using register as a structuring device and means of modulating the timbres of the strings, based on Alberman’s (CMR 2005) codification of Lachenmann, as well as the linear changes to, and expressive functions of, timbre accorded by Grisey (Hervé, IRCAM 2001).
The resulting work shows that modes of organisation for shaping timbre can be applied to harmony and musical time. Taking the structural application of augmentation and diminution found in Webern’s op. 31 led to the characterisation of formal divisions as well as a confluence of texture, motive, and pulse. The entire form arose from structuring musical time as an envelope based on types of pulse expressed by timbre, harmony and register. The deliberate expansion of a mid-register cluster-like object to a polarisation at the lowest, then highest registers led to a disintegration of the material within the pitch the extremities.
- Author contribution statement
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- Non-English
- No
- English abstract
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