{"id":1071,"date":"2018-10-31T12:18:37","date_gmt":"2018-10-31T10:18:37","guid":{"rendered":"https:\/\/anjacohen.nl\/?page_id=1071"},"modified":"2018-10-31T12:19:48","modified_gmt":"2018-10-31T10:19:48","slug":"slagwerk-intro","status":"publish","type":"page","link":"https:\/\/anjacohen.nl\/nl_nl\/slagwerk-intro\/","title":{"rendered":"slagwerk – intro"},"content":{"rendered":"

introduction by Antonio Pierna Garc\u00eda<\/strong><\/p>\n

 <\/p>\n

 <\/p>\n

Rebonds<\/u>\u00a0(Iannis Xenakis)<\/u><\/p>\n

Composed between 1987 and 1989\u00a0in two movements (A and B),\u00a0Rebonds\u00a0has become one of the classic contemporary works for solo percussionist.<\/p>\n

“An inmense abstract ritual, a suite of movements and of\u00a0hammering\u00a0without any folkloristic contamination, pure music full of\u00a0marvelously\u00a0efflorescent\u00a0rhythms, going beyond drama and tempest.”<\/p>\n

Quote of Jaques Lonchampt<\/p>\n

Rebonds\u00a0A<\/em>\u00a0is one long metric accelerando, beginning with huge amounts of space and continually adding faster notes and phrases to fill the gaps.<\/p>\n

Rebonds B<\/em>\u00a0has a totally different style, a constant pulsing groove overlaid with accents, complemented with quick interludes on pieces of wood.<\/p>\n

 <\/p>\n

Lu\u00a0<\/u>(Hugo Morales)<\/u><\/p>\n

 <\/p>\n

The work is focused on some inherent possibilities of the vibraphone. On one hand the use of a number of perfomance techniques that explore its possibilities of sound articulation in relation to vibration, and on the other, the physical alteration of the instrument by means of adding simple preparations consisting of objects made of aluminum. The piece is constructed over a recurrent set of three pitches form where a number of different techniques accumulate progressively exploring relationships between consonance, resonance, vibration and complex sounds. \u2018 \u2019 stands for aluminum in the Romanization from the Taiwanese sound.<\/p>\n

 <\/p>\n

XY\u00a0<\/u>(Michael Gordon)<\/u><\/p>\n

XY<\/em>\u00a0is one of the most renowned solo percussion pieces of the last decades, written in 1997 for five tuned drums.<\/p>\n

With literally a \u2018blank check\u2019 from the composer, Antonio decided to go one step forward, changing the original instrumentation. Inspired by the recent piece by Gordon, Timber<\/em>, (2009), where six percussionists play on pieces of wood called simantras, Antonio started developing the idea of creating a \u2018solo Timber\u2019, using six tuned pieces of wood.<\/p>\n

\u201cI am speaking of the hands of the performer as if they were\u00a0independent beings, and indeed they practically are. When I was imagining the\u00a0music of\u00a0XY<\/em>, I thought of the double helix of DNA, which wraps around itself and<\/p>\n

spirals upwards.\u201d<\/p>\n

Quote of Michael Gordon<\/p>\n

 <\/p>\n

Aphasia\u00a0(Mark Applebaum)<\/u><\/p>\n

Aphasia<\/em>\u00a0is \u00a0a scary word, meaning the\u00a0loss of ability to understand or express speech, caused by brain damage, like that caused by strokes.\u00a0 Applebaum\u2019s\u00a0Aphasia\u00a0<\/em>(2010)\u00a0is a 9-minute piece expressly written for a \u2018singer\u2019 to perform without making a single sound. Premiered in February 2011, it\u00a0consists of hundreds of transformed vocal samples derived from the voice of professional baritone Nicholas Isherwood and set to a score of nonsense hand signals\u00a0coordinated to each sound.<\/p>\n

Based on everyday activities, the hand gestures were recorded as a written musical score, using icons with names such as \u2018give me the money\u2019 and \u2018Post-it Notes\u2019. \u00a0Applebaum says\u00a0these gestures are intended to reflect his own\u00a0fascination with \u201cabsurdity that seems to be the consequence of tedious, obsessive attention to ridiculous things.\u201d Or, in other words, how bizarre the actions of the\u00a0mundane routine of activity seem when they are examined out of context.<\/p>\n

While the piece was inspired by a conversation between Isherwood and Applebaum, the idea to write a piece for a mute singer with hand motions was Applebaum\u2019s own \u2018obsession\u2019. He says his intention was to have\u00a0Aphasia<\/em>\u00a0come across as a metaphor for \u201cexpressive paralysis,\u201d something that unnerves him every time he \u201cconfronts the terror of composing a new piece\u201d.<\/p>\n","protected":false},"excerpt":{"rendered":"

introduction by Antonio Pierna Garc\u00eda     Rebonds\u00a0(Iannis Xenakis) Composed between 1987 and 1989\u00a0in two movements (A and B),\u00a0Rebonds\u00a0has become one of the classic contemporary works for solo percussionist. “An inmense abstract ritual, a suite of movements and of\u00a0hammering\u00a0without any folkloristic contamination, pure music full of\u00a0marvelously\u00a0efflorescent\u00a0rhythms, going beyond drama and tempest.” Quote of Jaques Lonchampt […]<\/p>\n","protected":false},"author":2,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-1071","page","type-page","status-publish","hentry"],"yoast_head":"\nslagwerk - intro - anja cohen | foto's en teksten<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/anjacohen.nl\/nl_nl\/slagwerk-intro\/\" \/>\n<meta property=\"og:locale\" content=\"nl_NL\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"slagwerk - 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