Peter Eotvos - Intervalles-Intérieurs / Windsequenzen

Posted By : denegado | Date : 02 May 2009 20:42:42 | Comments : 3

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The compositions Intervalles-lnterieurs (Interval interiors or Inside the intervals) and the Windsequenzen (The sequences of the wind) date from the "exploratory" period of the 70s, when my interest was centred on transferring the laws of nature into sound. I developed the electronic base material for Intervalles-lnterieurs between 1972 and 1974 (the piece Electrochronicle is a diary-like summary of this work), but I added three versions of the instrumental part between 1975 and 1981.1 started to work on The sequences of the wind in 1975, and was working on it continuously until 2002. I consider the present form of both pieces "final". Peter Eötvös

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Peter Eotvos - Snatches / Jet stream / Paris-Dakar / Jazz improvisations

Posted By : denegado | Date : 01 May 2009 20:55:51 | Comments : 5

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"Snatches...is as freely composed as an improvisation. A friendly conversation in a coffeehouse, snatches of clever conversation, full of irony... and we trace our way between the tables... The waiter is a double-bell trumpet...
The soloists do not improvise in this piece." Peter Eötvös

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Peter Eotvos - IMA / Cosmos / Correspondence

Posted By : denegado | Date : 30 Apr 2009 19:41:29 | Comments : 1

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IMA (Prayer) is a sequel to Peter Eötvös' Atlantis, composed in 1995: a musical memorial commemorating a culture that, at the zenith of its brightest period, suddenly sank into the sea. But while Atlantis gives the impression of a slow exploratory journey into the past and in an underwater world, IMA contemplates the sunken continent from the present.
For the composition of IMA, Peter Eötvös used the verses of two poets, Gerhard Rühm's poem entitled Gebet, and some lines from Sándor Weöres' Silent music. Rühm imitates the gesture of prayer, for which he uses a language similar to "that of a litany, recitative chanted in a subdued voice", as if, in the ancient culture, there existed a prayer addressed to ancient gods in an ancient language. Weöres on his part relates the beginning of the Creation, based on the Bible in a language of his own invention. According to Eötvös - who derives his own world of sound from "the meditative aspect and concentration of the prayers of various cultures" - this sounds like "a Polynesian language with some Latin influence".

"Ritualism comes naturally to me. Since ritualism is an original form in which gestures and sound appear in absolute unity, I could in effect call all my pieces 'ritual'." (Peter Eötvös)

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Posted by :: Alex | Date :: Aug 20, 2008 19:05:00 | [ 34 comments ]

Peter Eötvös - Atlantis / Psychokosmos / Shadows

Posted By : denegado | Date : 28 Apr 2009 21:14:37 | Comments : 1

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Did Atlantis really exist? Where and when? Was it just in someone´s imagination? A dream or a nightmare perhaps? Atlantis is the symbol of terrifying natural catastrophies, but it can also be interpreted as a sign of social and ethnic conflicts - it is just ahead of us. Humanity is continuously working on sinking itself, the apocalyptic fall of the anticipated final judgement is a bitter topicality.
Basically, Eötvös is an optimist, he never gives up hope. For him the "Artist" is a seismograph of the future who produces utopias for tomorrow. Eötvös rephrases Mussorgsky´s famous saying: "the past is with us in the present" into: "the future originates from the present."
... We are all under water: this is the situation that Eötvös places the audience into right at the beginning of the piece. A world of fantasy-sounds surrounds us, from which the sounds approach us like far-off hallucinations... The ten string players and the ten percussionists symbolize the five twins of Poseidon and Kleitos, the first ten kings of Atlantis...
At the end of each movement, soft Transylvanian dance music can be heard from the distance, like the low, scratched recording on an old phonograph.
Is this all that remained after us? - we might well ask. Thomas Schäfer (Cologne, 1995)

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Mauricio Kagel: Duodramen - Szenario - Liturgien

Posted By : denegado | Date : 17 Apr 2009 22:07:00 | Comments : 5

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Mauricio Kagel is a conductor, writer, teacher and self-taught composer, initially influenced by avant-garde figures such as Boulez and Stockhausen. 'Szenario,' scored for string orchestra and tape, was conceived as an independent work, but quickly found a new role as musical backing to the Luis Bunuel/Salvador Dali silent classic 'Le chien andalou'. Duodramen can be heard either as an orchestral song-cycle in the tradition of Mahler or as an operatic 'final scene' in the tradition of Wagner or Richard Strauss. Composed during 1989-90, 'Liturgien' is Kagel's take on a sacred service so as to illuminate its musical essence from a new perspective.

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