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Maurice Ohana - Silenciaire (1969)
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- čas přidán 13. 08. 2024
- 00:00 Slide whistles and string glissandos rise and fall into a explosive percussion hit
01:01 A ritualistic atmosphere as percussions play in free time, strings joining in at 02:32
03:38 A sudden frenzy of strings
05:40 Brooding low strings and ominous bell chimes before mallet percussion cadenzas
08:04 "Aventures: play these 'adventures' in an order predetermined by the chief percussionist" 4: Imposing bell chords interspersed with wooden percussion
09:00 Aventure 2: Whistling string glissandos and subtle percussion
10:08 Aventure 3: Percussion polyrhythms under piercing string chords
11:23 Aventure 1: The percussionists go wild with rapid runs and brash strikes before calming down into...
12:09 A slow meditative section featuring gong, tam-tam, and cymbals, growing into a huge climax at 14:16
15:17 A final frantic flurry of strings
A slash before the note is 1/3 tone sharp; 2 slashes is 2/3 tone sharp.
Composer: Maurice Ohana (12 June 1913 - 13 November 1992)
Orchestra: Luxembourg Philharmonic Orchestra conducted by Arturo Tamayo
Fair warning: the page turns in the "libre" free time sections are approximate or just following one line.
How I make my videos: github.com/CMa...
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You know it’s about to be wild when there’s a pretty clear and high quality picture of the composer at the beginning
Pieces like this make me think about the experience of composing new music in other times. No DAW, no composing software, just the instruments you have access to and your ability to envision new sounds in interesting combinations. I wonder how the first live rehearsal felt for the composer
If you ask me the ability to "envision new sounds" is what has been missing from anything avant garde from Schoenberg to New Complexity. Serialism and any "composition" that uses random number generators are good examples of music made by tools (music notation, ultimately) and not a well-honed or creative imagination.
@@goldenthunder1166 I agree with your premise (Boulez realized the same after Structures) that serialism or any fixed process could never replace creativity. But I disagree that this has been missing from avant-garde. Especially in movements like spectralism, with composers like Vivier and Grisey whose music I adore, much of the point has been trying to envision and create new sounds
@@Cmaj7 I'm sure that spectralism is creating a great many sounds - as atonality, serialism and dodecaphony did before it - however, owing to its relative youth and the nature of its sonic source material, I very much wonder how many of those sounds have been "envisioned" and not merely... created. Formed on the page, with the help of mathematics, and not musically preconceived in the mind.
Thank you for highlighting spectralism, though. (I have made a start on Grisey; but at present it seems to be merely a variation of atonality.)
Fascinating work & composer. And great job on the score editing/presentation. Many thanks!
Ohana, a composer who deserves more attention.
Ohana never fails to move the heart as well as to impress the hear !
yo where can I contact you about a score?
Based Ohana
They say there is no accounting for taste. There are those who will enjoy this soundscape and those who wonder whether the emperor is wearing any clothes.
Don't you ever get tired of doing this?
@@bassoonatic I was told that everyone is entitled to their opinion as long as you do not present it as as fact.
The most impressive aspect of this composition is the quantity of ink and paper used for the score. Everything else is beneath remark...
your comment is also beneath any remark. 🤮🖕
Fascinating piece that teeters from meditative calm to psychological tension. Brilliant. Sorry you missed it.
Bro hasn't seen Ligeti's Atmospheres
@ericbenjamin2908
Agreed. Very suspenseful and with great instrumental textures used with economy and impact.
@@ericbenjamin2908 It's the same atonal nonsense that has been done multiple times before.
Whatever.