24.03.2019
Arvo Pärt , Spiegel im Spiegel (1978)
"...The striking lyricism of the piece certainly does not suggest the rigid guidelines with which it is constructed. Scored for violin and piano (with the option of transposing the violin part down an octave to be played by a cello), the work is made of slow, steady lines ascending and descending in the violin part, over a serene and uninterrupted arpeggio accompaniment in the piano. This texture is occasionally colored by low, sustained Fs in the bass and high, bell-like (or, to use the word in its original context, tintinnabular) consonances in the upper piano register. The gentle lines in the violin are actually built according to a strict formula: beginning with the two-note scale G-A, the violin alternately ascends then descends to A by step. With each subsequent ascent and descent, a note is added to the line. There is no sense of drama, tension, or ambiguity here--when we hear the violin leap to high G, we know the stepwise path it is going to take on its way back down to A. The beauty of the tintinnabulum is not the construction of emotional trajectory, but rather the creation of an introspective atmosphere made of pure sonority." (c) AllMusic
-
https://youtu.be/aS7qmtQLSyY
Arvo Pärt , Spiegel im Spiegel (1978)
"...The striking lyricism of the piece certainly does not suggest the rigid guidelines with which it is constructed. Scored for violin and piano (with the option of transposing the violin part down an octave to be played by a cello), the work is made of slow, steady lines ascending and descending in the violin part, over a serene and uninterrupted arpeggio accompaniment in the piano. This texture is occasionally colored by low, sustained Fs in the bass and high, bell-like (or, to use the word in its original context, tintinnabular) consonances in the upper piano register. The gentle lines in the violin are actually built according to a strict formula: beginning with the two-note scale G-A, the violin alternately ascends then descends to A by step. With each subsequent ascent and descent, a note is added to the line. There is no sense of drama, tension, or ambiguity here--when we hear the violin leap to high G, we know the stepwise path it is going to take on its way back down to A. The beauty of the tintinnabulum is not the construction of emotional trajectory, but rather the creation of an introspective atmosphere made of pure sonority." (c) AllMusic
-
https://youtu.be/aS7qmtQLSyY
0
У записи 4 лайков,
0 репостов,
76 просмотров.
0 репостов,
76 просмотров.
Эту запись оставил(а) на своей стене Алексей Дурнев
