Lieferzeit
2-3 Tage
Matériel en location / d'exécution
At the fringe of our gaze
for orchestra and concertino group
orchestre
In order to bring the orchestra into my world I decided to start from 'music', or what we usually think about as music, with melodies, harmonies, counterpoint etc, and then gradually stop the 'music', peeling its layers away so that one suddenly faces what is underneath, what is the undercurrent moving in the air on which it rides, which is where my music really starts. In this sense, the piece is really trying to make the foreign familiar. Indeed it does it to such extent that the familiar 'music' becomes estranged in the middle of the piece...because the music of the 'underneath' was really put in the middle of the field of our attention. Chaya Czernowin
Edition: Matériel d'exécution
Détails du produit
Description
At the fringe of our gaze was written for Daniel Barenboim and the Divan orchestra. This played an important role in the way in which it came into being. I heard the orchestra and Daniel Barenboim in rehearsals and was deeply impressed by the energy of the players, by the way they related to Barenboim and how the rehearsal was conducted, from the music, on the music and into the music, not too much text. I also got a sense of the young musicians, brilliant, and many of them seemed not very different from the musicians who were studying with me at the time I was studying at the Tel Aviv academy – very sensitive musicians to whom new music seems like something quite foreign. I wanted to write something which will open the door for them into my world. I wanted them to be persuaded, brought into my world in a way which will enable them to experience it from the inside. This was one of my first impulses, growing directly from the rehearsal, wishing to have these young people on my side, musically. This is a rare impulse in my compositional world: in fact a lot of what I have done in the past was meant to conceal my music from the ears of others.
In order to bring the orchestra into my world I decided to start from 'music', or what we usually think about as music, with melodies, harmonies, counterpoint etc, and then gradually stop the 'music', peeling its layers away so that one suddenly faces what is underneath, what is the undercurrent moving in the air on which it rides, which is where my music really starts.
In this sense, the piece is really trying to make the foreign familiar. Indeed it does it to such extent that the familiar 'music' becomes estranged in the middle of the piece...because the music of the 'underneath' was really put in the middle of the field of our attention. Thus, the foreign became close and acquainted with and what was in the fringe has moved to the center of our attention. These are two processes which has strong political resonances.
The piece is one movement of about 21 minutes, but there are titles to the various segments of the piece: music I / underneath / unmoveable I / horizon I / music II / unmoveable II / horizon II
The soloists are not soloists in the regular meaning of the word. They are like the fringe of the fringe: when we listen to the orchestral material which is then in focus and we look at its very strange and elusive features, there is still something further away, tucked at the edge of where we can hear, and this is the material of the soloists, which strangely enough does show some 'musical' characteristics. However in horizon I which has only one pitch, a vast field is open, like a place which is so huge and empty that one can see for miles, (maybe something like a stretch of a huge flat beach and people with their presences and feelings are not yet? anymore? there). Sometimes that which is tucked away at the very edge of our attention is the very thing which ends up having the strongest effect on the shape of things to come. Chaya Czernowin
In order to bring the orchestra into my world I decided to start from 'music', or what we usually think about as music, with melodies, harmonies, counterpoint etc, and then gradually stop the 'music', peeling its layers away so that one suddenly faces what is underneath, what is the undercurrent moving in the air on which it rides, which is where my music really starts.
In this sense, the piece is really trying to make the foreign familiar. Indeed it does it to such extent that the familiar 'music' becomes estranged in the middle of the piece...because the music of the 'underneath' was really put in the middle of the field of our attention. Thus, the foreign became close and acquainted with and what was in the fringe has moved to the center of our attention. These are two processes which has strong political resonances.
The piece is one movement of about 21 minutes, but there are titles to the various segments of the piece: music I / underneath / unmoveable I / horizon I / music II / unmoveable II / horizon II
The soloists are not soloists in the regular meaning of the word. They are like the fringe of the fringe: when we listen to the orchestral material which is then in focus and we look at its very strange and elusive features, there is still something further away, tucked at the edge of where we can hear, and this is the material of the soloists, which strangely enough does show some 'musical' characteristics. However in horizon I which has only one pitch, a vast field is open, like a place which is so huge and empty that one can see for miles, (maybe something like a stretch of a huge flat beach and people with their presences and feelings are not yet? anymore? there). Sometimes that which is tucked away at the very edge of our attention is the very thing which ends up having the strongest effect on the shape of things to come. Chaya Czernowin
Orchestral Cast
4 · 4 · 4 · 4 (4. auch Kfg.) - 4 · 3 · 3 (3. auch Basspos.) · 1 - P. S. (I: P. · Röhrengl. · Gong · 2 hg. Beck. [h./t.] · 3 Rototoms [18’’, 16’’, 14’’] · gr. Tr. · 2 Rain Sticks; II: P. · Almgl. · Gong · hg. Beck. [h.] · 2 kl. Tr. [h./t.] · gr. Tr. · 2 Rain Sticks) (2 Spieler) (2 Spieler) - Str. -
Concertino: Vl. · Va. · Vc. · Klar. · Klav. · S. (P. · Crot. · Vibr. · Marimba · Gong · hg. Beck. [t./m.] · kl. Tr. [t.] · Guiro · großer Stein in einem Plastikeimer)
Concertino: Vl. · Va. · Vc. · Klar. · Klav. · S. (P. · Crot. · Vibr. · Marimba · Gong · hg. Beck. [t./m.] · kl. Tr. [t.] · Guiro · großer Stein in einem Plastikeimer)
Plus d'infos
Titre:
At the fringe of our gaze
for orchestra and concertino group
Edition:
Matériel d'exécution
Maison d'édition:
Schott Music
Year of composition:
2012 - 2013
Durée:
21 ′
Première:
18 août 2013 · Luzern (CH)
KKL
Lucerne Festival 2013
Musikalische Leitung: Daniel Barenboim · West-Eastern Divan Orchestra
KKL
Lucerne Festival 2013
Musikalische Leitung: Daniel Barenboim · West-Eastern Divan Orchestra
Travaux commandés :
Commissioned by the West Eastern Divan Orchestra (WEDO) and the Lucerne Festival
Détails techniques
Numéro du produit:
LS 5568-01
représentations
At the fringe of our gaze
Chef d'orchestre: Johannes Harneit
Orchestre: RCM Symphony Orchestra
16 avril 2016 |
London (Royaume-Uni de Grande-Bretagne et Irlande du Nord) , Royal College of Music, Amaryllis Fleming Concert Hall — Première nationale
At the fringe of our gaze
Salzburger Festspiele 2013
Chef d'orchestre: Daniel Barenboim
Orchestre: West-Eastern Divan Orchestra
24 août 2013 |
Salzburg (L'Autriche) , Großes Festspielhaus — Première nationale
At the fringe of our gaze
Musikfest Stuttgart 2013
Chef d'orchestre: Daniel Barenboim
Orchestre: West-Eastern Divan Orchestra
22 août 2013 |
Stuttgart (Allemagne) , Liederhalle — Première nationale
At the fringe of our gaze
Lucerne Festival 2013
Chef d'orchestre: Daniel Barenboim
Orchestre: West-Eastern Divan Orchestra
18 août 2013 |
Luzern (Suisse) , KKL — Première mondiale
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