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Streetlife

Klassische Musik • 1999
 
 
   
 

Version 1

Titel nach Uploader: Streetlife


30.00 USD

Lizenz lesen
20.00 USD

Verkäufer Sonja Grossner
ZIP, 109.00 Mb ID: SM-000248725 Datum des Uploads: 23 Mai 2016
Instrumentierung
Klarinette, Oboe, Geige, Cello, Bassklarinette, Altsaxophon, Baritonsaxophon
Art der Partitur
Partitur
Satz, Nr.
1 bis 1 von 1
Verleger
Sonja Grossner
Schwierigkeitsgrad
Fortgeschritten
Länge
25'0
STREET LIFE. For octet; Oboe, Clarinet in B flat, Bass Clarinet in B flat, Alto Saxophone, Baritone Saxophone, Two Violins, One Cello.
Notes; " Street Life" begins with an empty stage. A pre-recorded tape is heard with street noises. The instrumentalists walk on to the stage independently one after the other, after previous player has played their motive. Order of appearance is: (1) Oboe, (2) Alto Sax, (3) Clarinet, (4) Bass Clarinet, (5) Baritone Sax. The conductor takes his place shortly before the String section. The aleatoric sections can be repeated ad lib. if necessary to allow next player to appear. The five wood wind players should place themselves at different positions on the stage. These five players can either stand throughout the piece, or after conductor entrance, by (G) be seated. The three string players take their seat either during section (A) at the back of the stage, or shortly before conductor entrance. The middle section from G to I is played in the traditional way. The first part of this section should give the impression of a hymn or choral. It might help to set the character of the piece if the five wood wind players before (G) would play not facing each other. The idea is to give the impression of street musicians busking. The middle section only presents unity and togetherness. The piece ends as started. Each player departs independently, leaving an empty stage with again the pre-recorded tape of street noises.
Seating placing suggestions; Strings take their seat during section (A), or during section (F) at back of stage. The five wood wind players walk on to stage from audience and eventually stand throughout the piece. During aleatoric section instrumentalists walk through audience (ev. playing) and take their place on the stage. The conductor is the last one up, and also the first one to go. Departure also walking off stage through audience,
Cello, Violin 2, Violin 1,
Baritone Sax. Bass Clarinet. Alt Sax. Clarinet. Oboe. Conductor
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Version 2

Titel nach Uploader: Streetlife 2


30.00 USD

Lizenz lesen
10.00 USD

Verkäufer Sonja Grossner
ZIP, 109.51 Mb ID: SM-000248732 Datum des Uploads: 24 Mai 2016
Instrumentierung
Klavier, Klarinette, Posaune, Trompete, Geige, E-Gitarre, Bassgitarre, Altsaxophon, Schlaginstrumente
Art der Partitur
Partitur
Satz, Nr.
1 bis 1 von 1
Verleger
Sonja Grossner
Schwierigkeitsgrad
Fortgeschritten
Länge
25'0
Jahr der Komposition
2001
For ; Clarinet in B flat, Alto Saxophone, Trumpet in B flat, Trombone, Electric Guitar, Electric Bass, Percussion, Piano and Violin.

Street Life 2' is the second version of a composition I wrote for an ensemble of seven instruments. The initiative came from observations on Birmingham New Street on my way to the Conservatoire. For the title page to Street Life I have used photos of sculptures from my mother created during her years in the Czech Republic before the outbreak of World War II. It shows a homeless mother with children, children begging, father and son, and a gypsy with monkeys.
The musical inspiration came from three sources:
1) Haydn's Farewell Symphony (1772) gave me the inspiration to write something that would have a theatrical visual effect. I took this idea and reversed it, allowing the performers to walk on independently as well as leaving independently.
2) Gavin Bryars' Jesus Blood (1971) and the way he uses the song of a tramp in his work inspired me to write something about homeless people. I used a pre-recorded tape with street noises and wrote my piece around this scenario.
3) In order to link these ideas I used aleatoric writing influenced by Lutoslavski's work such as Mi Parti (1976).
I have used the traditional three-part structure for this composition but developed it differently and freely, coupling this with a detailed investigation of the elements and possibilities of aleatoric writing, a visual chance element and my idea of a visual representation of the effects of homelessness in a musical way.
By setting the scene with an empty stage and using a pre-recorded tape with street noises I have started my composition with a representation of isolation and loneliness. In order to develop this further I have used aleatoric methods for the first and last sections. The audience is taken by surprise by the empty stage. With this visual effect I endeavoured to bring across a certain emphasis on the feelings of homeless people living on the streets and their needs without having to use any words.
This lonely atmosphere is created by using the pre-recorded tape with the street noises, the railway station, footsteps, the tower bells, the voices of the Big Issue seller and the homeless flute player as the instrumentalists walk on to the stage, placing themselves at different positions independently, one after the other. They either stand throughout the piece, or, after the conductor's entrance, are seated. The conductor, who is the last one up and the first one to go, plays the part of a person who knows everything better and wants to improve the situation without really doing much other than a lot of talking. This visual gesture of resignation signifies that he has failed to help and leaves the homeless to fend again for themselves alone. Only the middle section presents unity and togetherness and this is played in the traditional way. The first part of this section gives the impression of a hymn or chorale. The piece ends as it started. Each player departs independently, walking off through the audience, leaving an empty stage with the pre-recorded tape of street noises.
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Version 3

Titel nach Uploader: Streetlife. Version 3


30.00 USD

Lizenz lesen
10.00 USD

Verkäufer Sonja Grossner
ZIP, 109.21 Mb ID: SM-000248734 Datum des Uploads: 24 Mai 2016
Instrumentierung
Klarinette, Oboe, Posaune, Trompete, Geige, Bratsche, Cello, Kontrabass, Bassklarinette, Altsaxophon, Baritonsaxophon
Art der Partitur
Partitur
Satz, Nr.
1 bis 1 von 1
Verleger
Sonja Grossner
Schwierigkeitsgrad
Fortgeschritten
Länge
30'0
Jahr der Komposition
2005
'Street Life 3' is the third version of a composition I wrote for an ensemble of eight instruments. The initiative came from observations on Birmingham New Street on my way to the Conservatoire. For the title page to Street Life I have used photos of sculptures from my mother created during her years in the Czech Republic before the outbreak of World War II. It shows a homeless mother with children, children begging, father and son, and a gypsy with monkeys.
The musical inspiration came from three sources:
1) Haydn's Farewell Symphony (1772) gave me the inspiration to write something that would have a theatrical visual effect. I took this idea and reversed it, allowing the performers to walk on independently as well as leaving independently.
2) Gavin Bryars' Jesus Blood (1971) and the way he uses the song of a tramp in his work inspired me to write something about homeless people. I used a pre-recorded tape with street noises and wrote my piece around this scenario.
3) In order to link these ideas I used aleatoric writing influenced by Lutoslavski's work such as Mi Parti (1976).
I have used the traditional three-part structure for this composition but developed it differently and freely, coupling this with a detailed investigation of the elements and possibilities of aleatoric writing, a visual chance element and my idea of a visual representation of the effects of homelessness in a musical way.
By setting the scene with an empty stage and using a pre-recorded tape with street noises I have started my composition with a representation of isolation and loneliness. In order to develop this further I have used aleatoric methods for the first and last sections. The audience is taken by surprise by the empty stage. With this visual effect I endeavoured to bring across a certain emphasis on the feelings of homeless people living on the streets and their needs without having to use any words.
. This lonely atmosphere is created by using the pre-recorded tape with the street noises, the railway station, footsteps, the tower bells, the voices of the Big Issue seller and the homeless flute player as the instrumentalists walk on to the stage, placing themselves at different positions independently, one after the other. They either stand throughout the piece, or, after the conductor's entrance, are seated. The string players could take their seat either during section (A). The conductor, who is the last one up and the first one to go, plays the part of a person who knows everything better and wants to improve the situation without really doing much other than a lot of talking. This visual gesture of resignation signifies that he has failed to help and leaves the homeless to fend again for themselves alone. Only the middle section presents unity and togetherness and this is played in the traditional way. The first part of this section gives the impression of a hymn or chorale. The piece ends as it started. Each player departs independently, walking off through the audience, leaving an empty stage with the pre-recorded tape of street noises
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