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- Pelle Gudmundsen-Holmgreen
For violin og orkester (2002)
(For Violin and Orchestra)- Edition Wilhelm Hansen Copenhagen (World)
- 3(pic).2+ca.2+bcl.2+cbn/4.3.3.1/3perc/hp/str
- 33 min
Programme Note
På sin vej gennem FOR VIOLIN OG ORKESTER møder violinen forskellige farver eller klangflader eller instrumentale blokdannelser, som det jo er. Stoffet er ofte forbundet med bestemte instrumentgrupper: Strygernes diatoniske clusters (i begyndelsen pizzicato), træblæsernes ca. 10 minutter inde i stykket i fagotten begyndende arabisk klingende melodi og til sidst deres fugle-agtige signaler - og endelig messingblæsernes junglelyd.
Violinen møder disse karakterer enkeltvis og efterhånden i stadig flere kombinationer. Dette er stykkets formelle idé. Stoffet kan være sig selv, og det kan være sammen på trods af forskelligheder i artikulation og klang og rytme og udtryk. Formen er mere møder, sammentræf, addition og subtraktion end koncert. Hvorfor også titlen må savne dette ord.
Pelle Gudmundsen-Holmgreen
ENGLISH VERSION:
On its journey through FOR VIOLIN AND ORCHESTRA the violin encounters different colours or soundscapes or instrumental ”blocks”. The musical material is often associated with specific groups of instruments: the strings and their diatonic clusters (pizzicato to begin with), the woodwinds entering after about 10 minutes with an Arabic sounding tune, heard first in the bassoon, and playing, at the end, bird-like signals – and finally the brass and their jungle-sound.
The violin initially faces phenomena one after the other, separately and in turns, but later on they are combined and appear simultaneously; this is the formal idea of the work: the musical material can appear autonomously, and it can merge, in spite of differences in articulation and timbre and rythm and expression. Formally the piece is rather meetings, coincidences, additions and substractions – than ”concerto” – and that is why that word is so conspicuosly absent from the title.
Pelle Gudmundsen-Holmgreen
Violinen møder disse karakterer enkeltvis og efterhånden i stadig flere kombinationer. Dette er stykkets formelle idé. Stoffet kan være sig selv, og det kan være sammen på trods af forskelligheder i artikulation og klang og rytme og udtryk. Formen er mere møder, sammentræf, addition og subtraktion end koncert. Hvorfor også titlen må savne dette ord.
Pelle Gudmundsen-Holmgreen
ENGLISH VERSION:
On its journey through FOR VIOLIN AND ORCHESTRA the violin encounters different colours or soundscapes or instrumental ”blocks”. The musical material is often associated with specific groups of instruments: the strings and their diatonic clusters (pizzicato to begin with), the woodwinds entering after about 10 minutes with an Arabic sounding tune, heard first in the bassoon, and playing, at the end, bird-like signals – and finally the brass and their jungle-sound.
The violin initially faces phenomena one after the other, separately and in turns, but later on they are combined and appear simultaneously; this is the formal idea of the work: the musical material can appear autonomously, and it can merge, in spite of differences in articulation and timbre and rythm and expression. Formally the piece is rather meetings, coincidences, additions and substractions – than ”concerto” – and that is why that word is so conspicuosly absent from the title.
Pelle Gudmundsen-Holmgreen
Scores
Score preview