Noter $103.99
Original
Pulse-Echo. Jason Eckardt. Cello sheet music. Piano sheet music. Viola sheet music. Violin sheet music.
Oversettelse
Puls-Echo. Jason Eckardt. Cello noter. Piano noter. Viola noter. Fiolin noter.
Original
Pulse-Echo composed by Jason Eckardt. 1971-. For piano quintet. piano, violin I, violin II, viola, cello. Score and parts. 120 pages. Published by Carl Fischer. CF.MXE50. ISBN 825897734. pulse-echo was commissioned by the Serge Koussevitzky Foundation in the Library of Congress for NOVA Chamber Music Series. Salt Lake City, Utah. and artistic director Jason Hardink. It was premiered in February, 2014. Hardink was interviewed by Edward Reichel for the web newsletter Reichel Recommends. "Eckardt is a proponent of New Complexity, a term coined in the 1980s to describe music that verges on the extreme edge of playability. While acknowledging the music's difficulty, Hardink also sees more than just a jumble of notes on a page. 'Jason's music is intense, complex and dissonant,' he said, 'but there is an underlying energy and joy of life in it. As. Hardink pointed out, 'it's not a piano-centric work. The strings play around the resonances from the piano. They play off of what the piano plays. ' In that regard it's a true chamber work in concept.
Oversettelse
Puls-Echo komponert av Jason Eckardt. 1971 -. For klaverkvintett. piano, fiolin jeg, fiolin II, bratsj, cello. Resultat og deler. 120 sider. Publisert av Carl Fischer. CF.MXE50. ISBN 825897734. puls-ekko ble bestilt av Serge Koussevitzky Foundation i Library of Congress for NOVA Chamber Music Series. Salt Lake City, Utah. og kunstnerisk leder Jason Hardink. Det ble urfremført i februar, 2014. Hardink ble intervjuet av Edward Reichel for web nyhetsbrev Reichel Anbefaler. Eckardt er en talsmann for New Complexity, et begrep laget på 1980-tallet for å beskrive musikk som grenser mot den ekstreme kanten av spillbarhet. Mens anerkjenner musikken sin vanskelighetsgrad, ser Hardink også mer enn bare et virvar av notater på en side. 'Jasons musikk er intens, kompleks og dissonerende, sa han, men det er en underliggende energi og livsglede i det. Som. Hardink påpekt, det er ikke en piano-sentriske arbeid. Strengene spille rundt resonansen fra piano. De spiller ut av hva piano spiller. I den forbindelse er det en sann kammer arbeid i konseptet.
