21313656
Derive 2
21313656
21313656
21313656
Copyright Material for Preview Only - Sheet Music Plus
Chamber Music Bassoon, Clarinet in A, English Horn, Harp, Horn in F, Marimba, Piano, Vibraphone, Viola, Violin, Violoncello
SKU: PR.UE037135
For 11 instruments. Composed by Pierre Boulez. 172 pages. Duration 0:11:00. Universal Edition #UE037135. Published by Universal Edition (PR.UE037135).
ISBN 9783702475406. UPC: 803452072515.
Universal Edition presents the last extended version of Boulez' Derive 2 in a 2006 revision. When I reflected on some of Ligeti's compositions, wrote Boulez, I felt the desire to dedicate myself to some almost theoretical research into periodicity in order to systematically examine its overlays, its shifts and its exchange. Tom Service, in The Guardian, describes the work: I had the sense...that although the piece was 45 minutes long, it could either have been 20 minutes or 200 and it wouldn't really have mattered. All of the music you hear in it is based on a single chord (derived - see what I've done there? - from a musical transliteration of the initials of Paul Sacher's name). Everything changes on the surface - there are passages where everything is speeding along vertiginously, which then contract into pools of slower music - but nothing changes underneath. It's a musical world that's completely hermetic and yet infinitely expandable. Weird.
Chamber Music Bassoon, Clarinet in A, English Horn, Harp, Horn in F, Marimba, Piano, Vibraphone, Viola, Violin, Violoncello
SKU: PR.UE037135
For 11 instruments. Composed by Pierre Boulez. 172 pages. Duration 0:11:00. Universal Edition #UE037135. Published by Universal Edition (PR.UE037135).
ISBN 9783702475406. UPC: 803452072515.
Universal Edition presents the last extended version of Boulez' Derive 2 in a 2006 revision. When I reflected on some of Ligeti's compositions, wrote Boulez, I felt the desire to dedicate myself to some almost theoretical research into periodicity in order to systematically examine its overlays, its shifts and its exchange. Tom Service, in The Guardian, describes the work: I had the sense...that although the piece was 45 minutes long, it could either have been 20 minutes or 200 and it wouldn't really have mattered. All of the music you hear in it is based on a single chord (derived - see what I've done there? - from a musical transliteration of the initials of Paul Sacher's name). Everything changes on the surface - there are passages where everything is speeding along vertiginously, which then contract into pools of slower music - but nothing changes underneath. It's a musical world that's completely hermetic and yet infinitely expandable. Weird.
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