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Classical Notes: Yan Maresz’s “Tutti”

One of the unexpected pleasures of a musical trip to Paris last June was to be entranced by a work by the composer Yan Maresz, whose piece “Tutti” lit up a concert by the vaunted Ensemble Intercontemporain. Composers such as Salvatore Sciarrino and Helmut Lachenmann currently dominate European modernist composition, as they write—often convincingly—in a style that studiously avoids the natural sonorities that instruments typically make. For them, the act of drawing a bow across the open string of a cello, for example, is anathema, just as the octave doubling of a melodic line was for Schoenberg and the twelve-tone school. “Tutti,” a work for large instrumental ensemble and electronic sounds, is hardly a “tonal” work, as American neo-Romantics would write, but it is deeply euphonic, drawing on a palette both traditional and exploratory. The piece even evokes the Baroque form of the chaconne, in which variations are spun over a repeated harmonic sequence.查看全文

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