2004 - Lietuvos Kompozitorių Sąjunga

Natures mortes (2003) orkestui
SWR simfoniniam orkestrui ir Sylvainui Cambrelingui parašytas
„Natures mortes“ buvo sukurtas Donaueschingeno festivalio
uþsakymu.
Kûriná sudaro trys padalos: pradinë kvazimelodinë, homofoninë
situacija, kurioje kiekviena melodija prasideda aukðtame registre
ir palaipsniui grimzta þemyn, paruoðia atvirkðtiná procesà,
pagrástà 12-os tonø motyvu, kuris obertoniniø paraleliø akordø
pavidalu nenutrûkstanèia spirale kyla aukðtyn. Viduriniojoje
padaloje, orkestrui pulsuojant lygiomis ðeðioliktinëmis, muzikinis
procesas subyra á taðkelius partitûroje; obertoniniø akordø
fragmentai grumiasi su aðtriais temperuoto skambesio kirèiais.
Treèià kûrinio padalà sudaro pratisi obertoniniai akordai.
Fazæ, kurioje vienas su kitu pinasi du obertoniniai akordai (sukeldami
aiðkiai girdimø samplaikø pulsà), keièia fazës, kuriose
kiekvienas akordas skleidþiasi laisvai, be jokio kliudymo. Ðiø
sàskambiø seka sudaro nenutrûkstanèio kilimo áspûdá.
Visas padalas jungia vienodas spirale sugráþtanèiø bûsenø traktavimas:
muzikinës medþiagos sugráþimas – tai ne repriza, bet
greièiau neáveikiamas ir praktiðkai neiðvengiamas sugráþimas
prie bûsenø, kurios jau atrodë tolima praeitis.
Georg Friedrich Haas
Natures mortes (2003) for orchestra
Natures mortes was created for the SWR Sinfonieorchester and
for Sylvain Cambreling, in response to a commission of the
Donaueschingen Festival.
The piece is divided into three sections: a quasi-melodic,
homophonic initial situation, in which the melodies each begin
high and move continually into the depths, gives way to an
opposite process featuring a 12-tone motif, which seems to
spiral endlessly upward in overtone chords moving parallel to
one another. In the middle section, the orchestra pulses evenly
in sixteenth notes, and the musical action dissolves into points
on a grid; excerpts from overtone chords rub against tempered
and percussive sounds. The final section of the piece consists
of long, sustained overtone chords. A phase of two overlapping
overtone chords (producing clearly audible beats) is followed
by phases in which each individual chord can unfold free of
obstruction. This sequence of sounds gives rise to the illusion
of a continuous ascent.
Common to all three sections is the treatment of conditions
that repeat themselves in a spiral-like manner: the return of
material is not intended as a reprise, but rather as the expression
of an almost compulsive, practically unavoidable return to
conditions thought to be long past.
Georg Friedrich Haas
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