Soenke Schnepel sent us this excerpt of his Piano Concerto No1
Good to see, that our library also works for modern compositions.
He also sent us a description of his composing technique.
thanks a lot, Soenke
Herb
http://vsl.co.at/demo_user?DP_ObergruppeID=5&DP_GruppeID=16
Piano Concerto Nr. 1, Sönke Schnepel
The Piano Concerto is based on various composition techniques; the counterpoint structure is strongly emphasized without „falling“ into the use of classical methods of counterpoint like canon or fugue.
Instead, I am working with overlays of completely separated sound strata, subdivided into different instrument groups. I believe that this can be heard best in the strings: a continuous pulse, almost like a light-footed dance, but always very quick and virtuoso. At the very beginning, after the piano has got its „introduction“, the woodwinds with sustained harmonic planes present a counterpoint to the gruffly advancing low strings and the brilliantly articulated brass.
The percussion in an ever recurring way accentuates points of emphasis, but slightly displaced in time – one can hear the metric emphasis (a run-of-the-mill 4/8 without any changes of measure) but it gets strongly disturbed again and again.
That’s another „principle“: everything is questioned, harmonic and temporal structures are changed again and again, evolutionary, almost profusely driven apart and at certain points in time brought to collide again; that which first threatens to run apart later collapses in massive sound mergings. I think that this running apart and collapsing can be heard immediately after the first section with its monumental proliferation of sound: piano and extremely high woodwinds chase away, crazy, virtuoso, extremely fast figurations, high blazing ligatures topple into final collisions, horns and trombones brace themselves against it up to the surprising moment of the violins‘ irritating 6ths and 7ths, tender swelling in primary temporal structures while below the strings carry on with the previous immense movement impulses, like echos or shadows.
But the paramount principle is dramaturgy. Everything devlops from the ideas of drama and gesture. In this sense, my musical language and my world of ideas – to name a categorization without wanting to impose myself on it – can be found in the vicinity of Hans Werner Henze, Wolfgang Rihm, Luigi Nono and especially Cristobal Halffter.
Good to see, that our library also works for modern compositions.
He also sent us a description of his composing technique.
thanks a lot, Soenke
Herb
http://vsl.co.at/demo_user?DP_ObergruppeID=5&DP_GruppeID=16
Piano Concerto Nr. 1, Sönke Schnepel
The Piano Concerto is based on various composition techniques; the counterpoint structure is strongly emphasized without „falling“ into the use of classical methods of counterpoint like canon or fugue.
Instead, I am working with overlays of completely separated sound strata, subdivided into different instrument groups. I believe that this can be heard best in the strings: a continuous pulse, almost like a light-footed dance, but always very quick and virtuoso. At the very beginning, after the piano has got its „introduction“, the woodwinds with sustained harmonic planes present a counterpoint to the gruffly advancing low strings and the brilliantly articulated brass.
The percussion in an ever recurring way accentuates points of emphasis, but slightly displaced in time – one can hear the metric emphasis (a run-of-the-mill 4/8 without any changes of measure) but it gets strongly disturbed again and again.
That’s another „principle“: everything is questioned, harmonic and temporal structures are changed again and again, evolutionary, almost profusely driven apart and at certain points in time brought to collide again; that which first threatens to run apart later collapses in massive sound mergings. I think that this running apart and collapsing can be heard immediately after the first section with its monumental proliferation of sound: piano and extremely high woodwinds chase away, crazy, virtuoso, extremely fast figurations, high blazing ligatures topple into final collisions, horns and trombones brace themselves against it up to the surprising moment of the violins‘ irritating 6ths and 7ths, tender swelling in primary temporal structures while below the strings carry on with the previous immense movement impulses, like echos or shadows.
But the paramount principle is dramaturgy. Everything devlops from the ideas of drama and gesture. In this sense, my musical language and my world of ideas – to name a categorization without wanting to impose myself on it – can be found in the vicinity of Hans Werner Henze, Wolfgang Rihm, Luigi Nono and especially Cristobal Halffter.
