Loops Ii.
Instrumentation: Vibraphone.
Philippe Hurel.
I wrote earlier about Loops I for flute that "the sound of the flute and its techniques are of less importance than the transformation procedure at work. The principle of the style of the piece is contained in the title which, when "looped", creates its own alliteration, and this spirit will colour a whole series of pieces based on the same principle. I start with little rhythmic motifs that are repeated and transformed as they progress. In fact, they are simple formulas which, by adding or taking away from themselves, end up creating further loops. "In this new Loops, written at the request of the Clermont-Ferrand International Vibraphone Competition, I have added an extra level to the principle of looping. The piece is so constructed that the process of cell transformation always brings you back to the motif announced at the outset. Although the music may seem to be undergoing perpetual transformation because of the morphing process, the listener will nevertheless feel it is going round in circles, since ea___8___5___,___7___$____1___,______9___,___1___&___(___1___=___2_______%___(___/___/___,___1ÃÂÃÂÃÂÃÂ__,__________________________________ _ ___ _ &_,_2__6_<_C_ I_O__ V_ \_ b_"i_$l__&s__(y_ *_ ,__ .___0__2__4___6ÃÂÃÂÃÂÃÂ¥_8ÃÂÃÂÃÂì__:__<__>__@ÃÂÃÂÃÂÃÂ__BÃÂÃÂÃÂÃÂ_DÃÂÃÂÃÂÃÂ_Fdominant role, and continued in 1999 and 2000 with the Tombeau in memoriam GÃÂÃÂÃÂérard Grisey and the Quatre variations for percussion and ensemble, in which the vibraphone takes on the role of a concerto soloist.
Publisher's Genre: Contemporary.
Publisher: ÃÂÃÂÃÂÃÂditions Henry Lemoine.
CF:544-00936.
Usually ships in 1-7 business days depending on stock level. Contact us for a more specific time estimate.
Instrumentation: Vibraphone.
Philippe Hurel.
I wrote earlier about Loops I for flute that "the sound of the flute and its techniques are of less importance than the transformation procedure at work. The principle of the style of the piece is contained in the title which, when "looped", creates its own alliteration, and this spirit will colour a whole series of pieces based on the same principle. I start with little rhythmic motifs that are repeated and transformed as they progress. In fact, they are simple formulas which, by adding or taking away from themselves, end up creating further loops. "In this new Loops, written at the request of the Clermont-Ferrand International Vibraphone Competition, I have added an extra level to the principle of looping. The piece is so constructed that the process of cell transformation always brings you back to the motif announced at the outset. Although the music may seem to be undergoing perpetual transformation because of the morphing process, the listener will nevertheless feel it is going round in circles, since ea___8___5___,___7___$____1___,______9___,___1___&___(___1___=___2_______%___(___/___/___,___1ÃÂÃÂÃÂÃÂ__,__________________________________ _ ___ _ &_,_2__6_<_C_ I_O__ V_ \_ b_"i_$l__&s__(y_ *_ ,__ .___0__2__4___6ÃÂÃÂÃÂÃÂ¥_8ÃÂÃÂÃÂì__:__<__>__@ÃÂÃÂÃÂÃÂ__BÃÂÃÂÃÂÃÂ_DÃÂÃÂÃÂÃÂ_Fdominant role, and continued in 1999 and 2000 with the Tombeau in memoriam GÃÂÃÂÃÂérard Grisey and the Quatre variations for percussion and ensemble, in which the vibraphone takes on the role of a concerto soloist.
Publisher's Genre: Contemporary.
Publisher: ÃÂÃÂÃÂÃÂditions Henry Lemoine.
CF:544-00936.
Usually ships in 1-7 business days depending on stock level. Contact us for a more specific time estimate.