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Скачать или смотреть Peter Ruzicka - Einschreibung (2010)

  • Béton Brut
  • 2022-02-01
  • 1082
Peter Ruzicka - Einschreibung (2010)
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Описание к видео Peter Ruzicka - Einschreibung (2010)

Peter Ruzicka (*1948) - Einschreibung ('Enrollment'), 6 Pieces for Large Orchestra (2010)

Einschreibung, 6 Pieces for Large Orchestra by Peter Ruzicka © Sikorski Musikverlage, Hamburg

https://www.sikorski.de/661/en/0/a/0/...

Disclaimer: This video is just for promotion, and not for profit. I hold no right to the picture on the video nor the music itself. All rights reserved for the composer and the publisher.
Please write me a direct message if you have complaints about this upload concerning copyright issues. In that case, I will delete the video immediately.

email: [email protected]

0:00 Peter Ruzicka (*1948) - Einschreibung for Large Orchestra (2010)/Instrumentation
0:05 1. (quaver=80), reference to Mahler's 10th Symphony, Mov. 3&4
3:07 2. (quaver=92), reference to Mahler's 3rd Symphony, Mov. 1
5:31 3. (L'istesso tempo), reference to Mahler's 6th Symphony, Scherzo
6:48 4. (in free time/crotchet=44), reference to Mahler's 9th Symphony, Mov. 1
11:50 5. (quaver=130), reference to Mahler's 7th Symphony, Mov. 5
13:17 6. (minim=20), reference to Mahler's 1st Symphony, Mov. 1

Christoph Eschenbach, Conductor
NDR Sinfonieorchester

Original audio available here
   • Peter Ruzicka: Einschreibung (2010)  

The six orchestral pieces composed in the summer of 2010 in response to a commission from the NDR for the Mahler year are to be understood as a ‘second look’ at musical shapes that have influenced me in experiencing Mahler’s music. They are momentary approximations that have been ‘inscribed’ in my own music.

They radiate impulsively into the musical language of the pieces - always those incomparable moments in Mahler that have been deeply branded in my musical awareness. As far as locating them is concerned, they are second-long traces from the Sixth, Seventh, Ninth, and Tenth Symphonies.

These shapes immediately disintegrate again but they continue to have an underground effect in my music. While composing ‘EINSCHREIBUNG’ I had the experience of a self-observation: the music looks forward in the moment during which it sounds – and backward as well. Sound areas result which movement between identification and something indefinitely non-identical – as in a constant alternation between rapprochement and distancing.

(Peter Ruzicka)

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