Güncel saat:0:00Toplam süre:7:35
1 enerji puanı
Studying for a test? Prepare with these 17 lessons on Eski ve Yeni Başyapıtlar .
See 17 lessons
Video açıklaması
starting position there is not one particular way in which I work so every competition starts maybe from a different imports of paradise and light came about when I received this wonderful letter from Jerry when I was asking my friends of longstanding to write works for my final season in Seattle at eighteen composers and he was one of them and she immediately accepted to write one of these guns somali commissions and we premiered the peace September of 2010 because of paradise and light is an arrangement of the work I wrote for those San Francisco Girls Choir the structure of the pieces in many ways related to the original text which is taxed by e EE cummings and very beautiful poem that has a particular form with a repeating line now of course when one hears a string orchestra version they're not going to be hearing that text but in some ways it's a song without voices of course there are many of those in the history of music so very short work but full of things and it just jumps from one idea to another yet it does have a tremendous ability to feel like a whole work but she has great descriptions a resonant with more motion energized spry joyful suddenly warm resonant faster with sunlight in mood and color and her and calm in a way her words are as political comings words alright as her music she writes only for the strange but with no double basses and it gives a very different color in a very different sound to the string orchestra I love writing for strings it's been a huge passion of mine for thirty years and in fact it's hard for me to write music that doesn't have strings in it one of the things about in paradise and ladies just the pure beauty of these incredible musicians in his All Star Orchestra with incredibly careful Boeing and the broader choices and the way that these harmonies are the peace in some ways it is very simple and elegant but on the other hand it builds up to these rich harmonic fields that kind of Melton re-emerge and and and things of this kind and the way that one place that is very important on the string I I think another characteristic of the piece is that it's relatively high and register it's moving up and that's why this image of of paradise in like that we're moving towards some other other world or other place and I think that the technique of playing it is something at the audience would really enjoy because it it's very simple and therefore it becomes very hard there's no make up in this piece at all it's just pure heart paradise and light is a short work and it's interesting the way it's constructed is constructed and what are called gestures so you have a first gesture and then there's a stop this an actual Armada and then there's a moment of pause it's not an arbitrary actually writes that and then there's another gesture and then there's another moment of pause and then another gesture. And it continues in that way at the same time it does feel unified the language is consistent the material isn't repeated its just developed possibly I think the reason is because the temple was pretty much the same throughout yes some fashionable smaller the color of the orchestra is just those two violins viola cello double as I'm usually there there aren't woodwinds brass is no double basses no percussion it helps us see this work as a unified whole because the color is very much consistent throughout and she uses these silences I have to go back to the drawing board get the field and then I know that it's going three times whose apparent eyes and light is very different than most of her music but I think equally wonderful