Desimpelaere / Henderickx / Roost: Patchwork
Etcetera - KTC 1794
Kompozytor
Erik Desimpelaere (ur. 1990)
Wim Henderickx (ur. 1962)
Jan Roost (ur. 1956)
Rudi Tas, Michael Lysigh, Joren D'Hoe
Erik Desimpelaere (ur. 1990)
Wim Henderickx (ur. 1962)
Jan Roost (ur. 1956)
Rudi Tas, Michael Lysigh, Joren D'Hoe
Wykonawcy
Peter Verhoyen Ensemble
Peter Verhoyen Ensemble
Utwory na płycie:
Sonate für Piccolo und Klavier - 1. Allegro risoluto- Sonate für Piccolo und Klavier - 2. Lento assai
- Sonate für Piccolo und Klavier - 3. Allegro energico
- Transitions - 1. Allegretto
- Transitions - 2. Largo
- Transitions - 3. Molto liberamente - Allegretto
- Dame, ne regardes pas (Variationen über ein Thema von Guillaume De Machaut)
- Gishora
- Patchwork
- Sonatina piccola - 1. Ballata malinconica
- Sonatina piccola - 2. Pagoda pentatonica
- Sonatina piccola - 3. Finale frizzante
Rudi Tas, Sonata
Michael Lysigh, Transitions
Erik Desimpelaere ‘Dame, ne regardes pas’
Wim Henderickx, Gishora
Joren D'Hoe, Patchwork
Jan van der Roost, Sonatina Piccola
Michael Lysigh, Transitions
Erik Desimpelaere ‘Dame, ne regardes pas’
Wim Henderickx, Gishora
Joren D'Hoe, Patchwork
Jan van der Roost, Sonatina Piccola
Patchwork
Patchwork is sometimes dismissed as folk art, as a cottage industry, as a hobby and as unpretentious dilettantism, although anyone who has tried their hand at mixing and matching motifs, textures, appliqués and stitching will agree that there is a great amount of skilled craftsmanship and intellectual labour involved: fantasy and imagination – a patchworker had best possess a keen inner vision that can unite the most diverse patches into a meaningful whole even before the first stitch is made; the ability to tell a story and an expressive flow – whoever makes quilts wants their stories to be passed on, memories to be kept, and hopes and promises to be shared; narrative sensitivity and symbolic insight – shapes, motifs and colours often have meanings that are deeply rooted in past and tradition.
The idea that beauty can exist in organised multiplicity also extends to art. Think of découpage the assembly of paper cuttings or of collage, in which not only different elements but also diverse materials are often assembled in various combinations, glued, and stacked.
In music, this principle has been translated into a range of genres and compositional techniques such as centonisation (the combination of melodic formulas into a synthetic composition) or incatenatura (the linking together of pieces of existing music, as in the Renaissance quodlibet. The pastiche is similar, being an operatic variant in which borrowed fragments are stitched together and given a new libretto to create a new work. The contrasting canzone of Frescobaldi and his contemporaries were even termed patch canzone.
It is also possible to think about music as patchwork in a broader sense; we need merely to consider polyphony, in which voices slide horizontally and vertically over each other with chords and imitative fragments as connectors, or Baroque music in which rhetoric directs the order, repetition and linking of its themes.
Patchwork is sometimes dismissed as folk art, as a cottage industry, as a hobby and as unpretentious dilettantism, although anyone who has tried their hand at mixing and matching motifs, textures, appliqués and stitching will agree that there is a great amount of skilled craftsmanship and intellectual labour involved: fantasy and imagination – a patchworker had best possess a keen inner vision that can unite the most diverse patches into a meaningful whole even before the first stitch is made; the ability to tell a story and an expressive flow – whoever makes quilts wants their stories to be passed on, memories to be kept, and hopes and promises to be shared; narrative sensitivity and symbolic insight – shapes, motifs and colours often have meanings that are deeply rooted in past and tradition.
The idea that beauty can exist in organised multiplicity also extends to art. Think of découpage the assembly of paper cuttings or of collage, in which not only different elements but also diverse materials are often assembled in various combinations, glued, and stacked.
In music, this principle has been translated into a range of genres and compositional techniques such as centonisation (the combination of melodic formulas into a synthetic composition) or incatenatura (the linking together of pieces of existing music, as in the Renaissance quodlibet. The pastiche is similar, being an operatic variant in which borrowed fragments are stitched together and given a new libretto to create a new work. The contrasting canzone of Frescobaldi and his contemporaries were even termed patch canzone.
It is also possible to think about music as patchwork in a broader sense; we need merely to consider polyphony, in which voices slide horizontally and vertically over each other with chords and imitative fragments as connectors, or Baroque music in which rhetoric directs the order, repetition and linking of its themes.
Zobacz także:
