Oh yes, it's 2010 (it has been for a while apparently) and it's time for a new series of posts. The title is fairly self explanatory, I'll present a fragment of a full score and you can try and guess what it is.
It's almost like sport only without all of the physical exercise, expensive outfits and potential injuries, what's not to like?
A fairly easy one to start with (don't all rush in at once with guesses everyone). Click on the image if you want to see it more clearly.
Tiny URL for this post: http://tinyurl.com/36mnupn
It's not often that the graphic design of a score is this good (in my experience and as per my tastes.)
Kurtag'sOmagio A Luigi Nono doesn't just have a pretty cover, have a look at the third movement, a beautiful, elegant page of music, and it sounds like it looks (unsurprisingly, perhaps, have a look at the YouTube clip of the piece at the bottom of the post).
I intend to look more closely at the harmony at some point but I am currently a bit too busy with other stuff so it will have to wait. The piece can be found on thisCD (first link UK shop, second US, the first CD 'in stock', so far.) The score is currently out of print unfortunately (so I am told by Boosey and Hawkes although they are still listing it for some reason)
(click on the images to enlarge them, as per usual.)
UPDATE: Hungarian composer Adam Kondor informs me that Kurtág scores can be ordered direct from the publisher, Editio Musica Budapest. Thanks to Adam for the information and links.
Also if you search on their site you can have a look at sample pages of the scores and listen to extracts of pieces, nice feature/s.
Unfortunately, EMB have changed the design of their scores, now Omagio has a somewhat muted black shiny jacket, see. (looks a bit like a restaurant wine list.)
In playing 'Melodien', however, all concerned must realise that the basic beat covers a diversity of metre; when he plays soloistic melodies or ornaments each instrumentalist must give a more or less independent, 'elastic' interpretation to his line; it must have an individual inner vitality and a dynamic and agogic shape of its own, which runs contrary to the barring and the beat.
In short, each part must 'breathe' individually. Exceptions, played without rubato: a) when two or more instruments are rhythmically coupled in unison, in octaves or in other intervals: b) subordinate passages such as pedal points and ostinato patterns. Entrances of the parts must occur precisely: only afterwards does the slight rubato take effect.
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