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lalít III • tre pannelli con Coda

Posted on May 21, 2014 in Compositions | 0 comments
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A great performance of lalít III • tre pannelli con Coda by Transmission


lalít III [Download]

Transmission

 Guy Pelletier, flute

Lori Freedman, bass clarinet

 Alain Giguère, violin

Julie Trudeau, cello

Julien Grégoire, percussion

Brigitte Poulin, piano

with Brice Gatinet, electronics

 

lalít III (tre pannelli con Coda)

for alto flute, bass clarinet, violin, cello, piano, percussion and electronics (2012)

lalít III is dedicated to Transmission

 

My work aspires to be speechless, not eloquent, without the urgency of communicating anything. If it expresses anything at all, that is pure character – essence more than intentionality. It manifests potential energy more than activity, relying on its own bare existence.

lalít III has been written thinking to what Luciano Berio once described as a “virtuosism of collaboration”. Here, in this kind of virtuosism, writing is fulfilled in the possibility of existing in the pure hands of (…those yes) really eloquent artists.

lalít III is articulated in three panels and Coda with defined sound and colour qualities. The live electronics component is performed live and freely interacting with the performance of the written materials.

In my practice I use the technique of collage and assemblage of heterogeneous forms with a programmatic character in which pre-formed material (written and/or recorded) is treated as raw material available for re-creation. The material of form is here the material’s form. The fragmented nature of the events underlines its character of work in progress: a sort of tale without beginning and ending, a permeable space declaring its non-obstruction to the diverse voices and soundscapes.

Simultaneity, policentricity and overlapping points of view are the characteristic elements of this work. The sound texture is not merely the addition or subtraction of a number of isolated events, but is a more complex combination of sound events that works in a strategy of an imaginary scenography.

Other elements for a possible reading of lalít III’s soundscape are: waveforms, slowness, speed, space.

 

 

lalít III (tre pannelli con Coda) • Performance Notes

 

Panel I   [aprox. 4’]

Instruments enter scattered on material A, gradually and freely interpolating α materials. The idea is to create a variable texture crossfading from A to α increasing the density and the dynamic of this section. The general dynamic of this section should be:

pp    ff

 

Panel II   [aprox. 1’/1’30”]

On cue (one player will give the cue for the change) everyone jumps on Cue1. Suddenly and without interruption: pp subito

Cue 1 should last at least 1 minute; again a very textural segment with very variable speed. After 1 min each player ad libitum and not simultaneously move to Cue 2

 

Panel III   [aprox. 1’/1:30]

 

Cue 2 should allow for more “space”, so players should repeat the given segments articulating more counterpoint-like textures with variable instrumental densities, and possibly improvising on the given material while dialoguing with the electronics. General dynamics of this panel is still soft but variations are welcome, while gradually fading to ppppp

Coda   [aprox. 2’]

Coda starts without gaps, just after the fade out of Panel III. From ϒ repeat twice, gradually slowing down to  =50 , and not trying to maintain any synchronization among the parts.

 

 

 

 

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