21320346
Speaking Drums
21320346
21320346
21320346
Copyright Material for Preview Only - Sheet Music Plus
Solo Part Orchestra; Percussion (Percussion Parts) - difficult
SKU: HL.49046246
Four Poems for Percussion Solo and Orchestra Solo Part. Composed by Peter Eötvös. This edition: Saddle stitching. Sheet music. Percussion. Classical. Softcover. Composed 2012/2013. 32 pages. Duration 1380 seconds. Schott Music #BAT56. Published by Schott Music (HL.49046246).
ISBN 9781540058447. UPC: 842819106340. 9.0x12.0x0.086 inches. Artificial language.
'Talking whilst playing the drum is not something unique. We can find it in traditional Indian percussion, and in jazz when musicians accompany their play with 'Sprechgesang'. This piece goes the opposite way: It begins with the percussionist speaking nonsensically, the emphasis on the rhythm, which he then passes on to his instrument. Like the pure, childish joy of repeating the same word in a different tune, the soloist teaches his instrument to speak until the drums start to talk themselves. Several poems form the basis; in the first two movements it are three poems by Sándor Weöres, and in the third movement it is a poemby Jayadeva. Each sentence has a more complex form than the one before. Rhythms form words, words form sentences, and sentences create a narrative.' (Ann-yi Bingöl).
Solo Part Orchestra; Percussion (Percussion Parts) - difficult
SKU: HL.49046246
Four Poems for Percussion Solo and Orchestra Solo Part. Composed by Peter Eötvös. This edition: Saddle stitching. Sheet music. Percussion. Classical. Softcover. Composed 2012/2013. 32 pages. Duration 1380 seconds. Schott Music #BAT56. Published by Schott Music (HL.49046246).
ISBN 9781540058447. UPC: 842819106340. 9.0x12.0x0.086 inches. Artificial language.
'Talking whilst playing the drum is not something unique. We can find it in traditional Indian percussion, and in jazz when musicians accompany their play with 'Sprechgesang'. This piece goes the opposite way: It begins with the percussionist speaking nonsensically, the emphasis on the rhythm, which he then passes on to his instrument. Like the pure, childish joy of repeating the same word in a different tune, the soloist teaches his instrument to speak until the drums start to talk themselves. Several poems form the basis; in the first two movements it are three poems by Sándor Weöres, and in the third movement it is a poemby Jayadeva. Each sentence has a more complex form than the one before. Rhythms form words, words form sentences, and sentences create a narrative.' (Ann-yi Bingöl).
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