Lieferzeit
2-3 Tage
Edition: Matériel d'exécution
Détails du produit
Description
In his orchestral piece zeroPoints Peter Eötvös pursues two central motives which are rooted in his personal memories. Commissioned by the London Symphony Orchestra and Pierre Boulez, zeroPoints is above all a tribute to the great composer, conductor and colleague Boulez:
’It is an unusual task, a special honour for a composer-conductor to write music for another composer-conductor. Since the Eighties I have often conducted Boulez’ Domaines, and I still wonder why he begins bar-numbering with 0 instead of the accustomed 1. Out of respect for the master I dared only aim at the interspace between 0 and 1, thus the titles of the movements of zeroPoints run from 0.1, 0.2... to 0.9, without ever reaching the number 1.’
Another motive that Eötvös uses as a basis of this work is the memory of noises and sounds: ’Nostalgic memories bind me to the audio recordings of the Fifties and Sixties – the years of my childhood – which formed and determined my musical thinking in a fundamental way. Technical noise was a natural by-product of recording, of the audio technology of that time. The "tape-noise" imitation at the beginning of zeroPoints derives from the same source – but today, in the age of faultless technology, it had to be produced artificially, using double-bass tremolos. The clarinet signals that start the piece correspond to the 1kHz countdown sinus signals used in film music recordings. This, too, leads to the zero point: 3-2-1-0, and thus music starts from zero...’ (Peter Eötvös, 2001, foreword of the score)
’It is an unusual task, a special honour for a composer-conductor to write music for another composer-conductor. Since the Eighties I have often conducted Boulez’ Domaines, and I still wonder why he begins bar-numbering with 0 instead of the accustomed 1. Out of respect for the master I dared only aim at the interspace between 0 and 1, thus the titles of the movements of zeroPoints run from 0.1, 0.2... to 0.9, without ever reaching the number 1.’
Another motive that Eötvös uses as a basis of this work is the memory of noises and sounds: ’Nostalgic memories bind me to the audio recordings of the Fifties and Sixties – the years of my childhood – which formed and determined my musical thinking in a fundamental way. Technical noise was a natural by-product of recording, of the audio technology of that time. The "tape-noise" imitation at the beginning of zeroPoints derives from the same source – but today, in the age of faultless technology, it had to be produced artificially, using double-bass tremolos. The clarinet signals that start the piece correspond to the 1kHz countdown sinus signals used in film music recordings. This, too, leads to the zero point: 3-2-1-0, and thus music starts from zero...’ (Peter Eötvös, 2001, foreword of the score)
Orchestral Cast
2 Picc. · 2 · 2 · Engl. Hr. · 3 (3. auch Es-Klar.) · Bassklar. · Sopransax. · Tenorsax. · 2 · Kfg. - 4 · 2 (1. auch Picc.-Trp.) · 3 · 1 - S. (I: gr. Tr. · Vibr. · Beck. [t.] · Tamt. [sehr tief] · Metall Chimes [Whisper] · Steel Drum [m.] · Trgl. [sehr hoch]; II: 1 P. · Vibr. · Röhrengl. · Beck. [m.] · Tamt. [t.] · Steel Drum [h.] · Trgl. [sehr hoch]; III: 3 P. · 2 Schellengeläute [hoch · sehr hoch]; IV: 1 P. · Marimba · Glsp. · Röhrengl. · Beck. [m] · Tamt. [t.] · Steel Drum [h. - exotische Stimmung - 6 verschiedene unbestimmte Tonhöhen] · Trgl. [h.]; V: gr. Tr. · Marimba (1 Instr. f. 4. u. 5. Spieler) · Glsp. · Beck. [t.] · Tamt. [m.] · Crot. · Steel Drum [m.] · Trgl. [h.] · Reibtr. [sehr hoch]) (5 Spieler) - 2 Hfn. · Keyboard-Sampler* (auch Cel.) - Str. (14 · 12 · 10 · 10 · 8 [ad lib. 4])
* Für alle technischen Anweisungen wenden Sie sich bitte an www.eotvospeter.com / For technical instructions please contact www.eotvospeter.com
* Für alle technischen Anweisungen wenden Sie sich bitte an www.eotvospeter.com / For technical instructions please contact www.eotvospeter.com
Plus d'infos
Titre:
zeroPoints
for orchestra
Edition:
Matériel d'exécution
Maison d'édition:
Schott Music
Year of composition:
1999
Durée:
15 ′
Première:
27 février 2000 · London (UK)
Barbican Hall
Musikalische Leitung: Pierre Boulez · London Symphony Orchestra
Barbican Hall
Musikalische Leitung: Pierre Boulez · London Symphony Orchestra
Travaux commandés :
Auftragswerk des London Symphony Orchestra, der Kölner Philharmonie, des Théâtre des Champs-Élysées, der Carnegie Hall, der Société Philharmonique de Bruxelles und Bruxelles 2000, der Musikfestwoche Luzern, des Edinburgh International Festival für "Boulez 2000"
Détails techniques
Numéro du produit:
LS 1538-01
Preview/Media Contents
Audio:
représentations
zeroPoints
Chef d'orchestre: Péter Eötvös
Orchestre: Nemzeti Filharmonikus Zenekar (Hungarian National Philharmonic Orchestra)
31 octobre 2019 |
Budapest (Hongrie) , MÜPA — Première nationale
19:30
zeroPoints
Chef d'orchestre: Lionel Bringuier
Orchestre: Sächsische Staatskapelle Dresden
14 janvier 2019 |
Dresden (Allemagne) , Semperoper
20:00
zeroPoints
Chef d'orchestre: Lionel Bringuier
Orchestre: Sächsische Staatskapelle Dresden
13 janvier 2019 |
Dresden (Allemagne) , Semperoper
11:00
zeroPoints
Chef d'orchestre: Lionel Bringuier
Orchestre: Sächsische Staatskapelle Dresden
12 janvier 2019 |
Dresden (Allemagne) , Semperoper
19:00
zeroPoints
Chef d'orchestre: Lionel Bringuier
Orchestre: Tonhalle-Orchester Zürich
15 juin 2017 |
Zürich (Suisse) , Tonhalle
19:30
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