I have my first real deadline for the project and it falls
at the end of January. This will be the first time I will work with someone on Nebadon,
which I am excited about. The importance of this, and why from a week of work I
chose to write about this is as follows. Having this deadline forces me to conceptualize
the work in a complete manner. This is because the person I am working with
KNOWS their stuff, and for me to stand on my own two feet I need to do certain
things to prepare.
- Score study
- Recording Study
- Large scale and small scale analysis
- I need read much much more about Stockhausen, his music and, the practices around its performance. (So if anyone who reads this knows about articles or such, send them my way)
Reflecting back now that I have started playing the work is
how important the first three steps really are. The electronic part to Nebadon
is really interesting and very complex, and the horn part takes turns playing
the same material or slight variations of it. As the piece progresses the
voices pull apart material wise, this fact became something I focused on in
detail this last week while trying to find ways to replicate the effect of the electronics
on horn. As well, this kind of interaction will play a vital role in the large
scale structure of the work.
The final step is something that was stressed by conductors
during my graduate work at DePaul, and I am always very happy it was. The more
we can get inside the heads of the composer and environment (culturally,
socially, etc.) the more we are able to find details that would otherwise be
glossed over. (Next time you listen to a Viennese octet really try to find the
humour in it which is always fantastic since it happens in such interesting
ways).
I have some other exciting projects coming up as well!
Grisey’s – Accords Perdus, Globokar’s Dos a Dos, and more!
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