Noticias

Sarah Nemtsov estrena la obra dropped drowned en Cottbus, Alemania


18/09/2017

Los próximos días 22 y 24 de Septiembre del 2017 en el Staatstheater Cottbus en Cottbus, Alemania tendrá lugar el Estreno Mundial de la obra dropped drowned (2017) de la compositora Sarah Nemtsov.

 
El viernes día 22 y el domingo día 24 de Septiembre a las 20,00 y a las 19,00 horas respectivamente en el Staatstheater Cottbus en Cottbus, Alemania tendrá lugar el estreno mundial de la obra Dropped.drowned (2017) de la compositora Sarah Nemtsov para gran orquesta interpretada por la Philharmonic Orchestra Cottbus, dirigida por Evan Christ.

Sobre la obra "Dropped.drowned" (2017) for large orchestra by Sarah Nemtsov Commissioned by the state theater Cottbus in collaboration with RicordiLab, Sarah nos ha comentado lo siguiente:

«Recently I should help my mother, who is a painter, to bring colors for a new painting on the pallet. I rummaged in her Boxes with tubes, took out oil colors. "No, not that color, no - for this picture only green tones, black and some brown, Van Dyke brown, ocher, yes and much white, titanium white."
When I thought about the instrumentation for the new orchestral piece, I had such a Feeling: No, no oboes and no trumpets. No gold-yellow (I'm not synaesthetic at all!). The program would also include Schumann's piano concerto, I was told (a work I love very much). If not as a solo instrument, the piano in the orchestra is often only a color on the edge, not too important, I myself often feel it as a foreign, somehow a stranger.
In my piece it is in the focus (without being a soloist), like the harp, amplified and slightly prepared. Starting from harp and piano, textures develop in the orchestra. The strings are partly linked to percussion, in mutual reflections, winds as a shadow behind them.

"People dread silence because it is transparent; like clearwater, which reveals every obstacle - the used, the dead, the drowned, silence reveals. And when people stare too close to silence they sometimes face their own reflections, their magnified shadows in the depths, and that frightens them. I know; I know. "[Janet Frame - Scented Gardens for the Blind]

There is almost no real silence in the piece (perhaps I am afraid of it myself - but in general, I am often more interested in polyphonic structures than in long notes, followed by silence, the real silence can sometimes be found in secret) but there are windows: senza misura moments in which another room is opened.
Suddenly, the scorned colors appear: 3 oboes and 3 trumpets, which bring a few objections from somewhere else, chords, doubled with tape, muted, brittle, a change of light or a change of perspective. In my piece is also about finding a certain "flow", a common, dark basic color and a common pulse. The orchestra finds this pulse, and at the same time is trapped in it; in the end there is liberation from the measure - which was previously fixed. .. Releasing or let go is one of the most difficult exercises not only in art.»


Más información en la web de la compositora Sarah Nemtsov

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