Showing posts from August, 2016

Palette de Couleur et de Lumiere

Palette de Couleur et de Lumiere

The concept of a palette of instrumental colour and timbre is derived from deepest aesthetic principles of the work.The choice of instruments are essential to the colouristic balance of the work.
GlockenspielVibraphone BongosCongas Tom-tomsBass drum Small shakerTambourine WhistlesBlowers Piano Flute/Alto FluteClarinet/Bass Clarinet
With the piano as the mediator, the opportunity for balanced and contrasting exploration of instrumental colour are great.For example;
Woodwind The two types of combinations are demonstrated below.The first is cross-species representation where there is a contrast of both instrument and register.
Example 1

The second contrast intrumental colour only.
Example 2

Flute Sonatine 1st Movement

The Flute Sonatine came at the height of my obsession with the works of Pierre Boulez. In 1947, he wrote a Flute Sonatine for piano and flute as a result of a suggestion by his then teacher, RenĂ© Leibowitz. with whom he was later to have a notorious falling out.

"With a red pen, [Rene] Leibowitz began marking up the manuscript [to Boulez's first sonata], then dedicated to him. Grabbing the score, Boulez fled, shouting at Leibowitz "vous etes de la merde!" Three years later, Boulez's publisher Herve' Dugadin asked him if the dedication should remain on the printed score. As Boulez shouted "Non!" he stabbed the manuscript with a letter opener until it was virtually in shreads."  His Sonatine fuses together the two waring factions of Stravinsky and Schoenberg in terms of rhythm and harmony. It is described by David Schiff as,

releasing in the sonatina an explosion of musical violence, nervousness, and instability. My Flute Sonatine, for solo flut…