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"Post scriptum"

"Post scriptum"

Sonata


  • Instrumentation: violon et piano
  • Édition: Partition, violin part included
  • N° Réf.: BEL 638
19,80 €  *
TVA incl. Weight: 0.16 kg

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Description
Silvestrov’s violin sonata “Post scriptum” is another of his chamber music postludes. The composer once stated that the title of the work signifies that it is “a postscript to Mozart and the whole classical tradition. The text has already been written. We simply add our annotations, thoughts, questions, consternation, astonishment and regret. The classical phonemes begin to waft through other times and spaces. There is no longer such a thing as the ability to predict what something means, and its place is taken by a mysterious symbolism.” (V. Silvestrov). A short three-movement sonata cycle emerges out of periods of silence lasting several seconds. It is impossible to point to a specific model. Classical idioms which have acquired the anonymous status of folklore hover in our minds, and the recurring performance marks in the score–“leggiero”, “dolcissimo”, “in the distance” and “con moto”, which has the character of an idée fixe–reinforce the imaginary character of this “real” music. As the piece progresses, it becomes increasingly difficult to perceive the contours of the traditional patterns. Whereas Silvestrov’s characteristic cantabile motives still predominate in the second movement, the finale already verges on inaudibility.” (Tatiana Frumkis)
Détails
Année de composition: 1991
Contenu du texte: I Largo
Allegro
II Andantino
III Allegro vivace, con moto
Durée de la performance: 15'0"
ISMN: 979-0-2030-0389-2
Maison d'édition: M.P. Belaieff Musikverlag
Nombre de pages: 32
Reliure: Dos agrafé
Représentations
2016-08-19 | Davos (Suisse), Hotel Schweizerhof
2006-10-14 | London (Royaume Uni), Queen Elizabeth Hall — 15.00 h
Silvestrov’s violin sonata “Post scriptum” is another of his chamber music postludes. The composer once stated that the title of the work signifies that it is “a postscript to Mozart and the whole classical tradition. The text has already been written. We simply add our annotations, thoughts, questions, consternation, astonishment and regret. The classical phonemes begin to waft through other times and spaces. There is no longer such a thing as the ability to predict what something means, and its place is taken by a mysterious symbolism.” (V. Silvestrov). A short three-movement sonata cycle emerges out of periods of silence lasting several seconds. It is impossible to point to a specific model. Classical idioms which have acquired the anonymous status of folklore hover in our minds, and the recurring performance marks in the score–“leggiero”, “dolcissimo”, “in the distance” and “con moto”, which has the character of an idée fixe–reinforce the imaginary character of this “real” music. As the piece progresses, it becomes increasingly difficult to perceive the contours of the traditional patterns. Whereas Silvestrov’s characteristic cantabile motives still predominate in the second movement, the finale already verges on inaudibility.” (Tatiana Frumkis)
Année de composition: 1991
Contenu du texte: I Largo
Allegro
II Andantino
III Allegro vivace, con moto
Durée de la performance: 15'0"
ISMN: 979-0-2030-0389-2
Maison d'édition: M.P. Belaieff Musikverlag
Nombre de pages: 32
Reliure: Dos agrafé
2016-08-19 | Davos (Suisse), Hotel Schweizerhof
2006-10-14 | London (Royaume Uni), Queen Elizabeth Hall — 15.00 h