24/11/2019 - Pavilhão Centro de Portugal (PT) - Orquestra Clássica do Centro and Conductor Jan Wierzba
Honourable Mention at the Francisco Martins Composition Prize 3rd Edition by Orquestra Clássica do Centro
Web Article at The ACTOR Project | Published on the 14th of June 2021
In this work, I - the composer - explore the role of spatialization and timbre blending as the main driving force to influence my orchestration approach. My departure point was to translate the concept of wind chimes as a physical instrument and their properties to orchestral music. All the pitch material was extracted from a sample recording of this instrument and then laid out to achieve a flowing harmonic progression that would take over the pitch development throughout the piece. Furthermore, wind-chimes are an instrument that if left alone it can be played by himself (with the natural stimulus of the wind) in a constant and almost generative ambient-like style. In addition to this, there is also a very important spatial property where each bell/chime is in constant movement, and also as a whole, all the bells move between themselves. In the end, this resulting harmonic progression and the idea of the movement of parts but also as a whole had a huge impact on my writing of this specific work.
Written in 2019 as part of my Doctor in Music — Composition at the Royal College of Music, London (EN). With the support of the Calouste Gulbenkian Foundation (PT) & Royal College of Music London (EN).
© PRS/MCPS/SPA ISWC T-931.224.048-5
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24/11/2019 - Pavilhão Centro de Portugal (PT) - Orquestra Clássica do Centro and Conductor Jan Wierzba
Honourable Mention at the Francisco Martins Composition Prize 3rd Edition by Orquestra Clássica do Centro
Web Article at The ACTOR Project | Published on the 14th of June 2021
In this work, I - the composer - explore the role of spatialization and timbre blending as the main driving force to influence my orchestration approach. My departure point was to translate the concept of wind chimes as a physical instrument and their properties to orchestral music. All the pitch material was extracted from a sample recording of this instrument and then laid out to achieve a flowing harmonic progression that would take over the pitch development throughout the piece. Furthermore, wind-chimes are an instrument that if left alone it can be played by himself (with the natural stimulus of the wind) in a constant and almost generative ambient-like style. In addition to this, there is also a very important spatial property where each bell/chime is in constant movement, and also as a whole, all the bells move between themselves. In the end, this resulting harmonic progression and the idea of the movement of parts but also as a whole had a huge impact on my writing of this specific work.
Written in 2019 as part of my Doctor in Music — Composition at the Royal College of Music, London (EN). With the support of the Calouste Gulbenkian Foundation (PT) & Royal College of Music London (EN).
© PRS/MCPS/SPA ISWC T-931.224.048-5
Are you performing this work? Submit your performance details to be featured in the upcoming events!
Scroll down for recording ↓
