Located in the UK
Located in the USA
Located in Europe
- Pelle Gudmundsen-Holmgreen
Concord (1988)
- Edition Wilhelm Hansen Copenhagen (World)
- 1.1.1(bcl).1/2.1.1.0/perc/pf/str(1.1.1.1.1)
- 13 min
Programme Note
Pelle Gudmundsen-Holmgreen CONCORD
To bring the idea of the word ’concord’ into the world of reality obviously runs into difficulties. As a title it suggests ambiguity.
CONCORD is divided into 3 instrumental groups plus an isolated percussion part. The musical material of the winds and piano is extremely simple, banal, though thoroughly constructed (symmetrical note structures). The strings and the brass play a very different kind of music, mirroring each other in displacement. So the use of the word ’concord’ would be mere irony if it was not for the more conventional interplay heard in some 35 bar intermezzi of a naive or grotesque character (the piece is consistently divided into sections of 35 bars depending on an underlying polyrhythmic sceme) or for the ending of the piece in which the groups demonstrate a square will for concord.
Pelle Gudmundsen-Holmgreen
To bring the idea of the word ’concord’ into the world of reality obviously runs into difficulties. As a title it suggests ambiguity.
CONCORD is divided into 3 instrumental groups plus an isolated percussion part. The musical material of the winds and piano is extremely simple, banal, though thoroughly constructed (symmetrical note structures). The strings and the brass play a very different kind of music, mirroring each other in displacement. So the use of the word ’concord’ would be mere irony if it was not for the more conventional interplay heard in some 35 bar intermezzi of a naive or grotesque character (the piece is consistently divided into sections of 35 bars depending on an underlying polyrhythmic sceme) or for the ending of the piece in which the groups demonstrate a square will for concord.
Pelle Gudmundsen-Holmgreen
Scores
Score preview