Composed by Marc-André Dalbavie. Ensemble music. Contemporary. Score. 42 pages. Duration 13'. Editions Jobert #JJ11583. Published by Editions Jobert (LM.JJ11583).
ISBN 9790230811583.
In Advance of the Broken Time... is the provisional version of an as yet unfinished piece that should be one third longer. This piece, like all of the others by Marc-André Dalbavie, uses procedures of interpolation that consist of transforming, within a clearly directional sonic continuum, a given object into another, according to a determined number of procedures. However, it stands apart from the composer's other work because it is the first that he has written for a chamber music ensemble. With the intent of obtaining a transparent texture, he multiplied orchestration procedures usually reserved for larger ensembles, allowing him to produce "composite timbres" somewhat unusual for such an ensemble. Since, for Marc-André Dalbavie, orchestration is merely "the notation of artificial acoustics", the piece integrates virtual reverberations and echo or reinsertion effects as it progresses. These time-lag phenomena are able to emerge due to parallel work done with tempi (slow, rapid, accelerando, rallentando...) that in the chamber music context, a priori suited to virtuosity, are encouraging to explore.
Composed by Marc-André Dalbavie. Ensemble music. Contemporary. Score. 42 pages. Duration 13'. Editions Jobert #JJ11583. Published by Editions Jobert (LM.JJ11583).
ISBN 9790230811583.
In Advance of the Broken Time... is the provisional version of an as yet unfinished piece that should be one third longer. This piece, like all of the others by Marc-André Dalbavie, uses procedures of interpolation that consist of transforming, within a clearly directional sonic continuum, a given object into another, according to a determined number of procedures. However, it stands apart from the composer's other work because it is the first that he has written for a chamber music ensemble. With the intent of obtaining a transparent texture, he multiplied orchestration procedures usually reserved for larger ensembles, allowing him to produce "composite timbres" somewhat unusual for such an ensemble. Since, for Marc-André Dalbavie, orchestration is merely "the notation of artificial acoustics", the piece integrates virtual reverberations and echo or reinsertion effects as it progresses. These time-lag phenomena are able to emerge due to parallel work done with tempi (slow, rapid, accelerando, rallentando...) that in the chamber music context, a priori suited to virtuosity, are encouraging to explore.
Preview: In Advance Of The Broken Time
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