Informationen zu "Boag, Booker, Funk, Marshall, Montgomery, Perez and Salles Da Vinci 500 Book 1 Double Bass Solo"
Verlag: Recital Music
Verlagsnummer: RM1044
EAN: 9990093814305
Beschreibung
BERNARD SALLES (France): Da Vinci 500 - Four Pieces 1.Leonardo da Vinci 2.
L?Homme de Vitruve 3. La Viege aux Rochers 4. Mona Lisa (La Joconde) 'When
David Heyes launched the ?Da Vinci 500? project, I immediately wanted to
participate. Leonardo was such a fascinating man, a genius for all humanity!
Not only a fabulous painter, but a tireless inventor, a visionary and a great
humanist: how could I refuse to honour such a great man? Leonardo da Vinci
thought that man should actively try to fight against evil and do good: ?He
who does not punish evil commands it to be done?. It is the role of all
creators (myself included), to try and construct whilst there are so many
people who wish to destroy. He had no illusions about the nature or mankind,
and how his inventions might be used, as he explained in the introduction to
the presentation of his submarine: ?I do not describe my method of remaining
underwater for as long a time as I can remain without food. This I do not
publish or divulge on account of the evil nature of men who would practice
assassinations at the bottom of the seas, by breaking the ships in their
lowest parts and sinking them together with the crews who are in them.? The
20th century unfortunately proved him right. Leonardo da Vinci also placed
moral rewards well above material ones: ?That which can be lost cannot be
deemed riches. Virtue is our true wealth and the true reward of its
possessor, it cannot be lost, it never deserts us until life leaves us.?
[Bernard Salles] Leonardo da Vinci & L?Homme de Vitruve were premiered by
Dritan Gani (double bass) on Thursday 2 May 2019 at Silk Mill West, Frome,
Somerset. La Viege aux Rochers & Mona Lisa were premiered by Alexander
Heather (double bass) on Sunday 5 May 2019 at Village Hall, Templecombe,
Somerset. GRAHAM BOAG (Oman/UK): Da Vinci?s Flying Machine 'I was delighted
when David Heyes approached me to write something for this fantastic project.
As I thought about what to write it was almost a case of where do I start.
However, there was one thing that kept coming back in my mind and that was
the drawings Da Vinci had done of anatomy especially of birds and in
particular their wings. This was an obvious inspiration to the great man as
he went on to wonder if a human could experience the same freedom of flight.
He would go on to draw several different types of flying.' [Graham Boag] Da
Vinci?s Flying Machine was premiered by Dritan Gani (double bass) on Thursday
2 May 2019 at Silk Mill West, Frome, Somerset. ADAM BOOKER (USA): Vitruvian
'Vitruvian, written for Da Vinci 500, a celebration of the great Renaissance
artist, scientist, and inventor, Leonardo Da Vinci, was created by
juxtaposing the circle of fifths over Da Vinci's 'Vitruvian Man.' The
resulting pitch collection yields an axis of symmetry centred on F sharp,
with a minor third in either direction, and continuing a four-note chromatic
cell on either side. Essentially, C, D-flat, D Natural, E-flat - F# - A,
B-flat, B natural, and C. The style, in a nod to Da Vinci's Italian heritage,
is that of a Tarantella. The piece should be performed aggressively, with a
short, staccato bordering on spiccato stroke, unless otherwise specified. The
challenge for the performer is allowing the notes in the lower register to
speak clearly in several dynamic ranges.' Vitruvian was premiered by Dritan
Gani (double bass) on Thursday 2 May 2019 at Silk Mill West, Frome, Somerset.
LUIS GUILLERMO PÉREZ (Venezuela): 4 Pieces for Leonardo 1. Search (Ricercar)
2. Recurring Ideas (Interludio) 3. Alchemy 4. Bird Man 1. Search (Ricercar):
Ricercar in Italian means to search and is a musical predecessor of the fugue
which appeared in the Baroque. It consisted of a phrase that was enriched but
always conserving the initial motives, developing or expanding them using the
different types of imitations. I considered it prudent to start this group of
4 pieces, assuming that da Vinci's genius would use those first ideas to
develop his inventions and also his artistic works. 2. Recurring Ideas
(Interlude): The artist in his creative process uses small ideas, which in
music we call motives, these are repeated again and again turning in our
mind, often tormenting us, until we get an order or balance and the final
work appears. In the case of a genius such as Leonardo da Vinci,
masterpieces, some or many of them questioned, others are visionary or
prophetic. 3. Alchemy - Although in his notebook da Vinci criticised the
pretension of man in imitating nature and trying to produce gold from other
metals, he was considered by some as an alchemist, esoteric and belonging to
a circle or sects of elect, as happened with other geniuses in different
countries. The geniuses transform the coarsest and simple into gold and into
wonders and they are true magicians in all the disciplines that entered. This
piece presumes to describe in sound this side of the Italian genius. 4. Bird
Man - da Vinci believed that man could fly, making the study of birds in
their anatomy and the physics of flight, which is shown by his inventions and
plans considered as precursors of flying ships of our day. This brief study
simulates with sounds and speed the flutter of a bird's flight. [Luis
Guillermo Pérez] Search was premiered by David Heyes (double bass) on
Thursday 2 May 2019 at Silk Mill West, Frome, Somerset. Recurring Ideas was
premiered by Alexander Heather (double bass) on Sunday 5 May 2019 at Village
Hall, Templecombe, Somerset. Alchemy was premiered by Dritan Gani (double
bass) on Thursday 2 May 2019 at Silk Mill West, Frome, Somerset. Bird Man
was by Alexander Heather (double bass) on Sunday 5 May 2019 at Village Hall,
Templecombe, Somerset ERIC FUNK (USA): nalVurtlV Op.151 ?It?s an unusual
piece, using a little Golden Ration and Fibonacci Sequence and even a couple
of rhythmically modified musical phrases Da Vinci himself composed. The title
looks quite strange but, because Leonardo was so into mirror writing and
hiding things in his paintings, I thought it fun to create a title that was
obscure, but if you look closely and use retrograde, you will see that the
two Roman numeral fours are the letters ?v? and ?I? backwards, the title
then, read backwards, being ?Vitruvian?. Since another American composer used
Vitruvian for his piece, beating me to the punch, I decided to be a bit
cryptic and playful with this.' [Eric Funk] nalVurtlV was premiered by David
Heyes (double bass) on Thursday 2 May 2019 at Silk Mill West, Frome,
Somerset. MICHAEL MONTGOMERY (USA): The Last Supper ?Leonardo da Vinci's
mural painting known as ?The Last Supper? was painted on a wall of the
refectory of the Convent of Santa Maria delle Grazie in Milan, Italy, between
1495 and 1498. In it Leonardo has captured the widely varied reactions of the
twelve apostles as Jesus told them one of the twelve would betray him.
Leonardo was famously aware of ratios and their effect on balance and
perspective, and it has been noted that one can in this painting find
references to numbers that occur in what is known as the ?Fibonacci Series?:
there is 1 table, 1 central figure, 2 side walls, 3 windows behind Jesus, 5
groups of figures, 8 panels on the walls and 8 table legs, and 13 individual
figures (the twelve apostles and Jesus). (Susan D. White) In the Fibonacci
sequence, each number (0, 1, 1, 2, 3, 5, 8, and 13) is generated by adding
the two numbers that precede it in the sequence. In a bow to da Vinci, this
composition makes use of the Fibonacci sequence of numbers - they are
superimposed on the overtone series of G (G1, G2, D3, G3, B3, D4, F4, G4,
A4,B4, C#5, D5, Eb5), as the 1st, 2nd, 3rd, 5th, 8th, and 13th partials
(inclusive of any lower partials) are introduced, each in turn, as the
sections of the composition progress. The single measure of silence that
opens the piece (0, the void) is followed by a short section built on the
single tone G1 (1, the central figure, Jesus). This is followed by sections
that make use of two tones (G1 and G2), three (G1, G2, D3), five (G1, G2, D3,
G3, B3), and so on. The initial sparsity of tones is intentional, and meant
to be reflective of the resolute calmness of Jesus in the face of the
suffering he must soon endure. As the composition progresses new partials are
added in sequence, and the pitches (used in their initial octave only) of any
lower partials remain in the ever growing tonal palette. For example, when
the 5th partial ?B3? is introduced, pitches of the partials lower than B3
(partials 1 thru 4, G1, G2, D3, G3) remain in or are added to the mix. With
the introduction of the 8th and 13th partials all notes used up to this point
are transposed freely to any octave. Notes now accumulated include G, A, B,
C#, D, Eb, F, G, making possible a musical representation of the cacophony
produced (and painted by Leonardo) as the twelve apostles react variously to
the news of their teacher?s betrayal. As a final short section recaps the
calm of the opening measures we might envision Jesus praying alone in the
Garden of Gethsemane. [Michael Montgomery] The Last Supper was premiered by
David Heyes (double bass) on Thursday 2 May 2019 at Silk Mill West, Frome,
Somerset. JAMES MARSHALL (USA): Fresco for Leonardo ?Fresco for Leonardo was
composed on Commission by David Heyes for the Da Vinci 500 project
commemorating the 500th anniversary of the death of Leonardo da Vinci on 2
May 2019. Leonardo was perhaps one of the keenest and sensitive minds in
recorded history. I chose the title 'Fresco for Leonardo' referring to his
painting 'The Last Supper' painted in fresco style. Fresco is a technique
that paints with watercolours that dry quickly on a wall surface. His life,
like all mortals, was a brief illumination. Like the flame of a lighted
candle, quickly doused, not unlike the watercolours of the quickly painted
fresco. The expressive, tempo indication of the piece is ?illuminating?.
Musically, the piece develops from the interval of the fifth and upward to
the octave (D, A, D) thus alluding to the number 500 and first letters of Da
Vinci. The fourth from A to D is the interval of the tuning of the
Contrabass. Various subtle bowing and pizzicato colorations are utilized as
well as harmonics. These colorations were the trademark of Contrabass artist
Bertram Turetzky whom David Heyes and Wells Cathedral School honoured with a
Celebration in on 4 November 2018 of his 85th birthday.? Fresco for Leonardo
was premiered by David Heyes (double bass) on Thursday 2 May 2019 at Silk
Mill West, Frome, Somerset.
