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In the composition I wanted to keep myself strictly to the existing material.
All sections consist solely of thematic material in different versions.
Melody and harmony are derived equally from the theme, in which the rhythmic figures are transmitted in a kind of serial 'rows'. Thus, for example,
one sixteenth understood as halftone and one-eighth as two semitones, wherein a plurality of rows are formed, one for each letter of the word IRINI.
The work can be formally divided into three large sections. Initially, a kind of exposure characterized by the dynamic and timbral contrast.
The second section begins mournfully in the resonant area of the instrument, then it's brought to the limit polyphonically.
The last section brings back the original image of the theme and illustrates the character of a real Morse code.
Numerous typical resources of the piano can be used to enhance the polyrhythms and thus create the illusion of a piano duo.
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All sections consist solely of thematic material in different versions.
Melody and harmony are derived equally from the theme, in which the rhythmic figures are transmitted in a kind of serial 'rows'. Thus, for example,
one sixteenth understood as halftone and one-eighth as two semitones, wherein a plurality of rows are formed, one for each letter of the word IRINI.
The work can be formally divided into three large sections. Initially, a kind of exposure characterized by the dynamic and timbral contrast.
The second section begins mournfully in the resonant area of the instrument, then it's brought to the limit polyphonically.
The last section brings back the original image of the theme and illustrates the character of a real Morse code.
Numerous typical resources of the piano can be used to enhance the polyrhythms and thus create the illusion of a piano duo.
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| Performance: | NOT subject to notification (ASCAP, BMI, GEMA etc.) |
| orchestration: | |
| Quantity of pages: | 12 |
| Visit: | 6918 |
Preparation for next contest