Pixel

pixel

(2017)

 

  • for guitar quartet
  • duration c. 10:00
  • World Premiere on 18 August 2017 in Würzburg by Kirsi Tilk, Teuvo Taimioja, Bettina Schmidt, Ana R. Lama Benitez
  • published by:
    Theophilius Productions
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  • PDF (1st page)

 

„Pixel“ starts with a single accentuated sound with a very strong and fast vibrato. In the following, its vibrating is slowed down and – to put it another way – screened (“pixeled”) in a musical way. This occurs in the temporal axis (sixteenth notes) as well as in the pitch bend/variation (sixth of tones). According to this, the temporal duration of one pixel is a sixteenth note and the spacing between the pixels is in each case a sixth of tone. Due to the pixeling, the actual slowly oscillating sound is vaguely developed in two respects: On the one hand, it is rhythmic (by the constant movement in sixteenth notes), on the other hand, it is blurred in its fluctuation in pitch (by the display of notes in layerings of up to five pixels). In my opinion, this reduction of data, as it results out of every screening (and even is its purpose), is not to be considered as loss. On the contrary, for me these pixels are seeds which can germ and grow.

I realized that while listening to microtonal music one finds one’s way more easily, if one can be oriented towards scales. Apparently, those scales give useful guidelines to the auditory sense which allows us to experience the unusual microtonal harmonies as something almost familiar. This is the reason why this piece is composed of a network of scales, which form the supporting structure of this composition almost like a basso continuo. At the moment, the Pixel-seeds are growing, the actual music entwines the framework of scales like an outer skin or cover. Bass tones and the notes of the melody, chords, colors, rhythm and groove arise from this framework. Even though the scales are not consciously perceived, they nevertheless are noticeable guidelines and a very strong regulative principle of this composition, which creates a stable kind of microtonality. As a result, the music is tangible, comprehensible, quasi substantial and at the same time microtonal in any moment.

Translation: Eva-Maria Markert

Goldberg - Tracking List

Joachim F.W. Schneider: Goldberg | Aria mit verschiedenen Veränderungen

01. speaker Aria (2’02) • 02. Variation 1 (1’07) • 03. Variation 2 (Kanon 7:6) (1’42) • 04. Variation 3 (4’28) • 05. Variation 4 (1’18) • 06. speaker Variation 5 (Kanon 7:5) (0’42) • 07. Variation 6 (Musik aus Glas) (1’14) • 08. speaker Variation 7 (“Kolibri”) (1’35) • 09. speaker Variation 8 (Kanon 7:4) (2’03) • 10. speaker Variation 9 (“Flamenco”) (1’31) • 11. speaker Variation 10 (Fuga a 3 voci) (1’04) • 12. speaker Variation 11 (Kanon 6:5) (1’28) • 13. Variation 12 (nicht zu breit) (0’47) • 14. speaker Variation 13 (0’27) • 15. Variation 14 (Kanon 5:4, Toccata) (0’37) • 16. Variation 15 (Fuga a 4 voci) (3’35) • 17. Variation 16 (1’44) • 18. Variation 17 (Kanon 5:3, “Goya”) (0’45) • 19. Variation 18 (1’46) • 20. Variation 19 (“Spieluhr”) (1’20) • 21. Variation 20 (Kanon 4:3) (0’58) • 22. speaker Variation 21 (Fuga a 3 voci) (2’12) • 23. Variation 22 (0’52) • 24. Variation 23 (Kanon 3:2) (0’25) • 25. Variation 24. Adagio, sempre rubato (4’30) • 26. Variation 25 (Fuga a 4 voci) (1’32) • 27. Variation 26 (Kanon 2:1) (0’48) • 28. speaker Variation 27 (Walzer) (2’10) • 29. Variation 28 (“Passacaglia- Miniatur”) (0’36) • 30. Variation 29 (Kanon 1:1) (1’02) • 31. Variation 30 (Quodlibet) (1’27) • 32. Aria da Capo e Fine (2’09)

‚Äč

Johann Sebastian Bach: 6 Choralvorspiele aus dem Orgel-Büchlein
Bearbeiter: Jürgen Ruck

33. “Ich ruf zu dir, Herr Jesu Christ” BWV 639 (2’57) • 34. “Nun komm’ der Heiden Heiland” BWV 599 (1’02) • 35. “O Lamm Gottes, unschuldig” BWV 618 (2’37) • 36. “Herr Gott, nun schleuß den Himmel auf ” BWV 617 (2’09) • 37. “Das alte Jahr vergangen ist” BWV 614 (2’10) • 38. speaker “Alle Menschen müssen sterben” BWV 643 (1’54)

Total Time: 63’00