Notis $10.00
Oriģināls
So Too, Fell Daedalus. Bassoon sheet music.
Tulkojums
Tātad Pārāk, Fell Daedalus. Fagots notis.
Oriģināls
So Too, Fell Daedalus composed by Kevin Timothy Austin. For Bassoon Duet. Published by Imagine Music. IG.CMS147. As can be inferred from the title, So Too, Fell Daedalus, I seek to evoke in this piece the story of Icarus and Daedalus from Greek mythology with the added inference that Daedalus saw his own demise out of grief for his son. The piece is then a reinterpretation of the well-established tradition of tone poetry. However, I chose to extract this practice from its original orchestral setting and instead employ two bassoons to embody the characters in the story. I digress from the traditional use of theme and motive, and instead use realism to an all-encompassing degree. The two bassoons soar, swoop, dive, flit and flutter, in moments of parallel motion and varied repetition, as if they were themselves riding on wings of feathers and wax. They begin from the depths of the labyrinth, out of which they climb to the heights of their hubris, and once again recede to their point of origin. Formally then, the piece is through composed and at times improvisatory, but the focus should be on the overarching contour, which follows the aforementioned pattern. With regard to pitch, I use a mode of non-western origin not to imply tonal function or centricity â“ any perceived instance of such is not intentional â“ but to arouse in the listener the same sense of intrigue felt by the protagonists, which brought them closest to the sun and that sent them ultimately to their end.
Tulkojums
Tātad Pārāk, Fell Daedalus sastāvā Kevin Timothy Austin. Fagotam Duets. Publicējusi Iedomājieties Music. IG.CMS147. Kā var noprast no nosaukuma, tā arī, Fell Daedalus, es cenšos, lai atsauktos šajā gabalā stāstu par Icarus un Daedalus no grieķu mitoloģijā ar pievienotās secināt, ka Daedalus redzēja savu norietu no skumjas par savu dēlu. Gabals ir, tad interpretācijai no labi izveidota tradīcija toņu dzejas. Taču es izvēlējos, lai iegūtu šo praksi no tās sākotnējā orķestra vidē un vietā nodarbina divas bassoons iemiesot rakstzīmes stāsts. Es novirzīties no tradicionālo lietošanu tēmu un motīvu, un tā vietā izmantot reālisms visaptverošs grādu. Divi bassoons planēt, sagrābt, nirt, pavīdēt un plandīšanās, brīžos paralēli kustības un daudzveidīgu atkārtošanos, it kā tie būtu paši izjādes pa flangiem spalvu un vaska. Tie sākas no dziļumiem labirintā, no kuriem viņi kāpt uz augstumos viņu hubris, un atkal uzteikt to izcelsmes vietā. Formāli tad, gabals ir ar ko veido un pie reizes improvisatory, taču uzsvars jāliek uz visaptverošu kontūras, kas seko iepriekš minēto modeli. Attiecībā uz soļa, es izmantot režīmu, kas nav rietumu izcelsmi nenorāda tonālo funkciju vai orientācija A iespaids instance tā nav apzināta â, bet rosināt kas klausītājam to pašu sajūtu intrigu izjūt varoņiem, kas .
