Schott Music

Skip to Main Content »

Language
 
Shopping Cart (0 item)
My Cart

You have no items in your shopping cart.

unplugged. unperfumed

unplugged. unperfumed

für Kammerensemble (mit Altstimme)


  • Instrumentation: Ensemble
  • Edition: performance material
  • Language: German

 
Description
"unplugged. unperfumed" was written during a stay as composer-in-residence in Stein am Rhein (Switzerland) in late summer 2001. As the title suggests, the composition intends to find a rather direct musical language, even a certain 'drive' in some passages. At the same time, it explores a complex network of sub-structures, especially directed by the instrumentation. As easily can be seen, the ensemble consists of four duos of woodwind, brass, percussion, and string instruments with the piano and the voice being 'solitaires' yet connected to some of the other instruments by material (strings in the case of the piano, air in the case of the human voice). Apart from these different duo-formations, the 'mobile' instruments (trumpet, trombone, voice –which is treated as an 'instrument' almost through the whole piece–) form a group of solo instruments with partly even improvisational elements. The players have to take different positions, with their movements being part of the compositional process, but containing also aspects of inner contradiction: their central parts are often played at the 'edge' of the ensemble, while the parts played in a central or 'soloist' position are more casual. The two percussionists are also moving from the center to the edge of their positions during the piece, reflecting the position-changes of the 'mobile' instruments, and at the same time undergoing a change of sound colours from the pitched instruments to more and more indifferent sounds.
The voice part is anything but a vocal soloist's, and it contains only one short textual fragment (from Heinrich Isaac's famous Innsbruck song), but on this quotation's phonetical structure many passages are based, while others are 'imitations' of instrumental patterns and sound-types.

- Benjamin Schweitzer
Details
Performance duration: 12'0"
Publisher: Schott Music
Uraufführung : 4. Oktober 2005 London, Royal College of Music (UK) · Dirigent: Titus Engel · Sächsisches Hochschulensemble · Veranstalter: Hochschule für Musik „Carl Maria von Weber“ Dresden
Year of composition: 2001
instrumentation: 0 · 0 · 0 · Bassklar. · 1 - 0 · 1 · 1 · 0 - S. (Vibr. · Marimba · 2 hg. Beck. · chin. Beck. · Donnerblech · Cowbell · 2 Bong. · 2 Tomt. · kl. Tr. · 2 Congitas · 2 Cong. · 2 Schlitztr. · gr. Tr. · 5 Tempelbl. · 5 Woodbl. · Mar. · 1 Paar Sandpapierbretter oder Hartschaumblocks · Angklung · 2 Papierbögen) (2 Spieler) - Altstimme · Klav. - Str. (0 · 0 · 1 · 0 · 1)
Performances
Conductor: Titus Engel
Orchestra: Sächsisches Hochschulensemble
2005-10-04 | London (United Kingdom), Royal College of Music — \"Saxony in UK\" | World Premiere
"unplugged. unperfumed" was written during a stay as composer-in-residence in Stein am Rhein (Switzerland) in late summer 2001. As the title suggests, the composition intends to find a rather direct musical language, even a certain 'drive' in some passages. At the same time, it explores a complex network of sub-structures, especially directed by the instrumentation. As easily can be seen, the ensemble consists of four duos of woodwind, brass, percussion, and string instruments with the piano and the voice being 'solitaires' yet connected to some of the other instruments by material (strings in the case of the piano, air in the case of the human voice). Apart from these different duo-formations, the 'mobile' instruments (trumpet, trombone, voice –which is treated as an 'instrument' almost through the whole piece–) form a group of solo instruments with partly even improvisational elements. The players have to take different positions, with their movements being part of the compositional process, but containing also aspects of inner contradiction: their central parts are often played at the 'edge' of the ensemble, while the parts played in a central or 'soloist' position are more casual. The two percussionists are also moving from the center to the edge of their positions during the piece, reflecting the position-changes of the 'mobile' instruments, and at the same time undergoing a change of sound colours from the pitched instruments to more and more indifferent sounds.
The voice part is anything but a vocal soloist's, and it contains only one short textual fragment (from Heinrich Isaac's famous Innsbruck song), but on this quotation's phonetical structure many passages are based, while others are 'imitations' of instrumental patterns and sound-types.

- Benjamin Schweitzer
Performance duration: 12'0"
Publisher: Schott Music
Uraufführung : 4. Oktober 2005 London, Royal College of Music (UK) · Dirigent: Titus Engel · Sächsisches Hochschulensemble · Veranstalter: Hochschule für Musik „Carl Maria von Weber“ Dresden
Year of composition: 2001
instrumentation: 0 · 0 · 0 · Bassklar. · 1 - 0 · 1 · 1 · 0 - S. (Vibr. · Marimba · 2 hg. Beck. · chin. Beck. · Donnerblech · Cowbell · 2 Bong. · 2 Tomt. · kl. Tr. · 2 Congitas · 2 Cong. · 2 Schlitztr. · gr. Tr. · 5 Tempelbl. · 5 Woodbl. · Mar. · 1 Paar Sandpapierbretter oder Hartschaumblocks · Angklung · 2 Papierbögen) (2 Spieler) - Altstimme · Klav. - Str. (0 · 0 · 1 · 0 · 1)
Conductor: Titus Engel
Orchestra: Sächsisches Hochschulensemble
2005-10-04 | London (United Kingdom), Royal College of Music — \"Saxony in UK\" | World Premiere