Bernard Cavanna
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just before after_JagodaSzmytka_y
just before after_JagodaSzmytka_y 10
just before after_JagodaSzmytka_y 11

Just Before After

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Specifications
Region
Europe
Estimated Duration
6 - 10min
Date
2008

ISMN : 979-0-2325-0330-1

In Stock
Notes on this piece
The piece deals with the issue of identity and the problem of this: what is audible, visible, sensible and expresses when being in a profound, acute need of finding “the point of myself“? Musical material contains gestures of hands, fingers twisted with instruments and gestures of light. Together with the gestures appears material of a diverse nature. In the piece dominates a widespectrum of sounds, which are undefined and that are questioning the gist of instruments and identity of the sound – the parameters of duration, pitch, timbre slip out of perception and categorical division. Sounds are interwoven in a highly complex orchestration.The recognition of instruments is impeded through the luck of light. However, in the composition arise moments where the matter goes to the point and gets clarity. These are the punctuations of single resounding pizzicato, accents of concentrated texture in flute and clarinet parts, overtones springing out of piano resonance box, spoken exclamations of the percussionist. Punctuations are as wellthe moments when musicians build up together one sound, or when they articulate collectively one movement, where in bright light the ensemble is conducted to the pure motion – in silence. Finally all the music phenomena of the piece are based on the general mechanism of polarization between light and obscurity – between "located/displaced", "pointed/dispersed", "pitched/undefined". The idea of the composition came up just before after reading the text „Psychosis 4.48” by Sarah Kane. Just before after means not only a particular time indication – concrete, although difficult to grasp period -, but also concerns/constitutes/poses a specialreference of a new piece to the impuls-work. Substance of the sourcematerial was disappearing and becoming more and more undefined along working progress. At the end it has been transformed into adisappearance and indefiniteness as an independent, equal quality of composition, sounds, instruments. Out of necessity was born the irrevocable consequence of those processes - necessity of coming into point.The concert-version of the piece was premiered by Ensemble Interfaceunder the direction of Scott Voyles at Kammeroper Schloss Rheinsberg in Mai 2010.
Instrumentation
Flute/Alto Flute
Clarinet in B flat/Bass Clarinet in B
Violin
Viola
Cello
Contrabass
Harp
Percussion
Score Details
Format - A3 / Tabloid
Pages - 18


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