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The Bells, Op.61
Klassische Musik/Zeitgenössisch • 2010 • Alternativer Titel: I. D'Orleans II. D'Angelus III. In the Well
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Instrumentierung |
Klassische Gitarre |
Partitur für |
Solo |
Art der Partitur |
Für einen Interpreten |
Satz, Nr. |
1 bis 3 von 3 |
Verleger |
Gyre Music |
Schwierigkeitsgrad |
Schwer |
Länge |
12'0 |
d'Orleans The round Orleans, Beaujancy is woven into a spacious fabric of dissonant chords, melody pealing high above in harmonics. I re-discovered this piece after it lay dormant for over a year, having totally forgotten this little "experiment" in dissonant chord structures. I was pleased to find how much sonority was possible. The major 7th interval is used repeatedly and creates it's own beating vibrato.
d'Angelus I was honored to be asked by Norbert Dams to write a piece for his 60th year in which he plans to do 60 concerts around the world. I had composed d'Orleans on a whim two years before and had had the thought that I wanted to write more "impressionistic" pieces in this vein. Norbert's piece uses a series of notes generated by his name and the name of his publishing house, Daminus: FGBBEBC DAEC DAEAFEC and a chromatic variation A#BDA#C#DE CAAD# CAAFA#FD#.
In the well The third piece, written for Marek Pasieczny, is the most complicated: major 7th intervals, note sets determined by Marek's name, and an unusual version of the round "Ding dong bell, pussy is in the well" that I learned years ago from a wonderful family of singers, George and Lucy Semler.
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