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Canto Ostinato ("Obstinate Song" (as ostinato)) is a musical composition written by the Dutch composer Simeon ten Holt. The piece was completed in 1976 and. Gurdjieff-Hartmann - Piano Music Volume 2 Series 1. Simeon ten Holt - Bi Ba Bo. Jeroen Van Veen-Minimal Piano Collection-Booklet. Canto Ostinato. Uploaded by Quinten Akkerman. Canto Ostinato score. Copyright : Attribution Download as PDF, TXT or read online from Scribd. Flag for.

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Canto Ostinato Pdf

To get permission for a public performance of Canto. Ostinatoplease take the following steps: 1) Read the performance requirements. 2) Fill in. Simeon ten Holt, a dutch composer who wrote the famous Canto Ostinato, Lemniscaat, Incantatie IV, Horizon for four pianists. Sheetmusic Canto Ostinato. Canto Ostinato ("Obstinate Song" (as ostinato)) is a musical composition written by the Dutch .. Print/export. Create a book · Download as PDF · Printable version.

Other combinations are possible using keyboard instruments. But the performance with four pianos is preferred. Canto stems from a traditional source, is tonal and makes use of functional harmony; it is built according to the laws of cause and effect tension-release. Although all parts of Canto have their fixed position in its progress and are not interchangeable without violating the melodic line, the internal logic and form, beginning and end do not have absolute meaning as boundaries of form. Time plays an important role in Canto. Although most bars or sections feature repeat signs and although the performer s decide s on the number of repeats, one cannot speak of repetition-as-such. Repetition in this case has as its goal to create a situation in which the musical object affirms its independence and can search for its most favorable position with respect to the light thrown on it, becoming transparent. Time becomes the space in which the musical object floats. The performers have a wide margin of contribution. They decide about dynamic contrast, duration in detail as well as for the whole about the use of opposing or non-opposing differentiation of timbres, whether or not to play passages in unison. Also about repetition and combination of bars and sections, depending on their place within the score. The performers also decide, depending on available time and physical effort, whether they will take turns or if there will be a pause. A performance of Canto is more like a ritual than a concert. The piece is not in a hurry and has in common with so called minimal music that one cannot speak of fixed duration.

Some suggestions for these are given in the score by thinly drawn stems connecting notes within each group. Bars and sections are indicated now by letters A,B,C, etc.

Through its constant return A forms a pivotal or rest point.

The ordering of A and its satellite-sections as given in the score is, in a certain sense, relative. They do not have to be present all the time — they can disappear and return — and they need not be filed to the notated octave register. During the sixties Ten Holt immersed himself in serialism. During the seventies, Ten Holt concentrated on tone and timbre and on sonology. The work was performed on three pianos and electronic organ.

Later on Ten Holt felt that the best performance option would be four equal-sized grand pianos; however, the score still bears the subtitle: for keyboards. Even today, one could say that, in a sense, this is still true. In the late 1970s, Ten Holt provoked the wrath of countless musical know-alls by returning to sounds that every ear could understand.

He had the courage to abandon the complex, twelve-tone scores of the post-war era, which he traded in for simple triads, shifting rhythmic patterns and repeat signs.

In what does his musical process differ so much from that of other contemporary composers? In classical music the composer typically makes the final decisions about what and how to play; here instead, the performers are the decision-makers and are therefore part of the recreation of the composition.

In doing so, all performers within the ensemble have an equal input as well as equal influence on the decisions. All compositions in this box were written down in large books. Each composition contains approximately a hundred to two hundred sections. Repetition in this case serves to create a situation in which the musical object affirms its independence and can search the most favourable position with respect to the light thrown on it, becoming transparent.

The musicians navigate through these sections by giving each other visual signs and may even go backwards instead of forward. There is no fixed duration for a piece, but a performance may easily last a couple of hours. The first performance of Lemniscaat, for instance, lasted for thirty hours!

The music has been constructed within the principle of tonality, but since the duration is more or less stretched, it brings a new perspective to the musical experience. All of this in combination with the democratic process of creation has been a major influence on contemporary music.

Aart Bergwerff won prizes at the international organ competitions in Bruges 1985 , Lausanne 1987 , and Groningen 1989. As a concert organist he frequently performs at concerts and festivals at home and abroad.

From that point of view he now initiates adventurous projects with the church organ, from Canto Ostinato on organ to productions with video artist Jaap Drupsteen, which projects are released through his own label Art Unorganized.

In 2006 he played the world premiere on church organ of Canto Ostinato by Simeon ten Holt and recorded this version as well. This production became the start of a close cooperation with pianist Jeroen van Veen. In 2012 Aart Bergwerff was appointed also as the organist at the Grote Kerk in Breda playing the four manual Flentrop organ.

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Elizabeth Bergmann Elizabeth Bergmann has an active performing career as pianist and chamber musician and is the recipient of many awards and prizes of international competitions such as the International Chamber Music Competition in Caltanissetta, Italy and the 4th Murray Dranoff International Two Piano Competition.

She performs most regularly with her husband as the Bergmann Piano Duo and has recorded numerous CDs with various ensembles and artists appearing on the Arktos, Naxos and Brilliant Classics labels.

Recitals and concerts with orchestra have taken her to many parts of the world including the United States, Italy, Germany, Holland, Greece and Canada. Elizabeth is nationally and internationally involved as a lecturer, presenter and juror of festivals and competitions.

She has been on faculty at The Mount Royal University in Calgary and at the University of Calgary and for many years was involved in various musical activities at the Banff Centre for the Arts. Marcel Bergmann For the last 20 years, Marcel has enjoyed an active musical career as a performer, composer, improviser and teacher.

His broad range of musical interest and experience in both, classical and popular music has led to an output in a variety of styles and genres. Subsequently, he completed post-graduate work in the Solistenklasse in Hannover.

The Bavarian Television, Arte and other European broadcasting corporations, have broadcast his music for television features. For more than a decade Marcel and his wife Elizabeth have performed extensively as a duo piano team and have since enjoyed a successful career. Like a rotating glass object showing new colors and reflections, Canto Ostinato presents the listener with hypnotic new dimensions and unexpected musical metamorphosis. At three points in the work, a melody detaches itself from texture to create an emotional climax that subsequently dissolves.

In case the performer is a soloist, he or she can change the layout of the themes - each of which is assigned to different voices in the score - and combine them freely with each other. The "celebration" of this music can last from half an hour to several hours, depending on the situation, the dynamics, the artist and the audience.

The Italian premiere of this unique version of Canto Ostinato will be held August 27, 2010 in the ruins of the Church of Bussana Vecchia near Sanremo, just like Bergen a coastal and artist village.

Sheetmusic for Canto Ostinato, solo version

The duration of this performance will be about two hours, without a break. Assia Cunego, Harp www. She subsequently attended the Masterclass by Prof. In numerous international competitions she won first prizes and scholarships, distinguishing herself by her great technical and interpretive skills.

Three on One piano duet by Anne Ku

In her career she performed predominantly in solo concerts throughout Europe, again and again gaining success and appreciation from the audience and favorable critics reviews. At the age of 25 she performed her 1500th public concert. Since 2005 she holds harp master classes in Germany and Holland and teaches since 2007 at the music school of Achim, near Bremen, Germany. In the summer of 2008, Assia performed her interpretation of Canto Ostinato for solo harp at the closing concert of the Festival Simeon ten Holt of Bergen, in honor of the 85th birthday of the composer.

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