Page 294 - Vinkler, Jonatan, in Jernej Weiss. ur. 2014. Musica et Artes: ob osemdesetletnici Primoža Kureta. Koper: Založba Univerze na Primorskem.
P. 294
musica et artes
cess. The player creates the sound using the forms displayed by the compo-
ser and he forms the thematic line in a free narration. Number 14 in a score
is an example of interweaving the violin line with the punctual like tissue of
wood wind instruments, brass wind instruments and percussion (Example 4,
p. 16). Numerous fermatas give space for resounding of long sounds in the va-
riation of their intensity. The last phase of the 1st part brings the tissue which
is made of short complexes of sounds – rather sounding points (p. 18) in fast
tempo. However it is built on strict rules it resembles the structure of freely
falling particles.
The real feast of shades of variety of colours and tints of expression is
the 2nd part A battuta. It starts with presentation of the violin subtle motive
in a rather new interpretation way called soave. This motive is contra pointed
by the contrasting motive rude. This is a kind of clash of sound types – sharp
and smooth. The sharply sounding motive is developing in the violin solo part
(Example 5, p. 29) and than expanding in glissando esspressivo. It finally leads
to presentation of clays and timbres in a smooth melody rooting from the so-
ave motive. The sound of the orchestra is tinged with sparkle and soft tones
and the structure oscillates between opening new sequences with intensive
differentiation. One of them ends with timpani’s sound fading away (p. 43).
Part third Ad libitum presents a new timbre of sounds used in musical
scenes in which cantabile elements of solo violin and vibraphone sounds com-
binations dominate (no 68 and 69 in the score). The expressive and full of nu-
ances melody of violin appears on the background of fast vibraphone trem-
olo. The solo violin’s melody is a kind of arabesque luxuriantly expanded on
the static background of other instruments. Melted hues of trembling sounds
are intensive here.
Part fourth introduces multi dimensions of sound space character-
istic for contemporary music. Since famous mathematicians of 19th centu-
ry Hilbert and Riemann discovered and described n-dimensional space ex-
istence music had experienced the new tendency of decomposition of sound
into as many as possible various phases of timbre. We can point out interest-
ing examples of this tendency in the four dimensions facture of piano piec-
es by Liszt and in the multi levels concept of the orchestra in Mahler’s sym-
phonies. One of the basic technical measures here was tremolo articulation of
sounds introduced by Beethoven in his Eroica Symphony. This effect gave the
single sound spacious and vivid character in exposing its shape in various di-
mensions and exploring its intensity and density at the same time. This meas-
ure was widely developed lately at the turn of the centuries (in Ravel’s Gas-
292
cess. The player creates the sound using the forms displayed by the compo-
ser and he forms the thematic line in a free narration. Number 14 in a score
is an example of interweaving the violin line with the punctual like tissue of
wood wind instruments, brass wind instruments and percussion (Example 4,
p. 16). Numerous fermatas give space for resounding of long sounds in the va-
riation of their intensity. The last phase of the 1st part brings the tissue which
is made of short complexes of sounds – rather sounding points (p. 18) in fast
tempo. However it is built on strict rules it resembles the structure of freely
falling particles.
The real feast of shades of variety of colours and tints of expression is
the 2nd part A battuta. It starts with presentation of the violin subtle motive
in a rather new interpretation way called soave. This motive is contra pointed
by the contrasting motive rude. This is a kind of clash of sound types – sharp
and smooth. The sharply sounding motive is developing in the violin solo part
(Example 5, p. 29) and than expanding in glissando esspressivo. It finally leads
to presentation of clays and timbres in a smooth melody rooting from the so-
ave motive. The sound of the orchestra is tinged with sparkle and soft tones
and the structure oscillates between opening new sequences with intensive
differentiation. One of them ends with timpani’s sound fading away (p. 43).
Part third Ad libitum presents a new timbre of sounds used in musical
scenes in which cantabile elements of solo violin and vibraphone sounds com-
binations dominate (no 68 and 69 in the score). The expressive and full of nu-
ances melody of violin appears on the background of fast vibraphone trem-
olo. The solo violin’s melody is a kind of arabesque luxuriantly expanded on
the static background of other instruments. Melted hues of trembling sounds
are intensive here.
Part fourth introduces multi dimensions of sound space character-
istic for contemporary music. Since famous mathematicians of 19th centu-
ry Hilbert and Riemann discovered and described n-dimensional space ex-
istence music had experienced the new tendency of decomposition of sound
into as many as possible various phases of timbre. We can point out interest-
ing examples of this tendency in the four dimensions facture of piano piec-
es by Liszt and in the multi levels concept of the orchestra in Mahler’s sym-
phonies. One of the basic technical measures here was tremolo articulation of
sounds introduced by Beethoven in his Eroica Symphony. This effect gave the
single sound spacious and vivid character in exposing its shape in various di-
mensions and exploring its intensity and density at the same time. This meas-
ure was widely developed lately at the turn of the centuries (in Ravel’s Gas-
292
