Das Andere op.49 for viola solo Aion IV real deepswarm 09/05/24 (Thu) 12:37:28 No. 93
Hommage a Horatiu Radulescu
Samstag, 23.03.2013, Kolumba - Kunstmuseum des Erzbistums Köln
Viola: Vincent Roye
> I use a special type of phase-shifting bowing (which Rohan de Saram called 'u dhu u dhu'), which I discovered in 1981 in Versailles while composing my large ensemble work Iubiri. The bow glides very swiftly over the string and seems to be rebounding off two imaginary walls; I found this bowing technique on the violin, on the G string. I also use a new approach to playing harmonics with one finger, which I call “little devils ”, which produces an irregular melody of very high harmonics, with fast bowing, interspersed with occasional sounds of the open string, like Morse signals. Some of these techniques I used before in Ecou Atins from 1979, in thirteen dreams ago from 1978, in Everlasting Longings from 1971 and in Credo from 1969, the first spectral work for nine celli. The compositions Iubiri and even Awakening Infinity for very large ensemble from 1983, and Ecou Atins, are like big sisters and little sister to Das Andere, and prepared the way for it. https://invidious.flokinet.to/watch?v=wWxBlj-R8OQ Pierre BouTeX real deepswarm 09/05/24 (Thu) 13:38:06 No. 94
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>BG Although your own music is very radical in its technical aspects, and its sound is very new, nonetheless the great love you obviously have for the whole tradition of Western music always comes through in your work. That is different than some of the American composers you’ve mentioned, who sometimes seem more ambivalent in their attitude toward European tradition. I was struck, for example, by the dedication of your Das Andere, ‘to Patrick Szersnovicz for his Brahmsian soul.’ >HR For me the most important is to be very close to, for example, Josquin Des Pres, because you have the feeling of a fresco; you forget the technique and you get into a special atmosphere, a special state of sound which is much more – as in the sense of Xenakis – a metropole of small elements into a big mass. Clouds of polyphonies, and so on. Or by Tallis also, no? It’s very beautiful. You have to work in this sense today with new means. To create a big fresco, a Leonardo in sound. Why not? But of today. Maybe more crazy, like nature is. Like the ocean. What we see today – it’s sometimes more crazy. From the plane, when you see the whole ocean and whole clouds. Leonardo only imagined this. In this sense you have more freedom also. > https://horatiuradulescu.com/writings/interviews/2-wild-ocean 