Chronos

Engravings for Large Ensemble:i) Chalcographyii) Pantograph / Etchingiii) Xylography / LithographyEngravings was composed for the Ensemble Modern as part of the 2013 International Ensemble Modern Academy and it is dedicated in admiration to this iconic group of soloists.Whilst many art forms largely depend on space music has a thrilling relationship with time. Time serves as a canvas for composers and compositions can in many ways also be described as sculpted time. Ancient Greeks had two words for time Chronos (time in the traditional sense) and Kairos (the opportune moment). The former is quantitative and the latter qualitative. This distinction is very important as we live our lives in chronos but experience most of the important events of our lives in kairos. For me the art of music composition highlights this relationship; whereas music cannot exist without chronos it is the kairos that makes it worthwhile—the pursuit of supreme moments.As an art form engraving is very lengthy and painstakingly process-driven not unlike composing and techniques instruments and types of engraving directly inspired this three-movement composition. At times the inspiration lies in the engraved artefact itself. At others I am interested in the technical process or the instruments utilized. Methods of production depend on the materials used: Chalcography xylography and lithography are engravings on copper wood and stone respectively and these are represented both literally and conceptually by the ensemble either in colour or scope. Pantograph is an engraving machine based on parallelograms where the movement of one point in tracing an image is produced identically in other points and etching refers to the method of making prints from a metal plate. Whilst beauty is found in the finished engraving there are also moments of beauty in the process of creation itself. Therefore Engravings uses this art form to explore both the uniqueness of these concepts but also

Piano Solo-'3 Epigrams' (1963) came into existence following my piece for chamber orchestra 'Chronos' (1962). My purpose with these pieces (and others of the same period) was to explore the sound experiences of serialism in space and time but without using the original and fundamental substance of serialism - the tone row. The chromatic space was constituted by four identical and complementary tone columns (established by transposition). The time was divided into 25 different sizes plasticly conceived and graphically notated. These distances were then divided in 25 new distances in the same proportions etc ... into smaller and smaller durations completely hierarchally carried through.This time division 'rhythm' de-termines the gradual or sudden shifts from one tone column to another.The 3 Epigrams became a little play of my own with this material and the work is therefore quite clear to read and easy to play - a kind of bagatelle really.I am now afraid that a classic situation is emerging: If this programme note is any longer it will take more time to read this than it will take to play the three pieces.Pelle Gudmundsen-Holmgreen

Par NATTIEZ JEAN-JACQUES. / Broché / Date parution : 1993-11-12/ Livre / Livres