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Aurática

for solo Harp

8,00 €
Versión impresa (+14,80 € impresión y envío). Colissimo7-14 days aprox.
Versión digital (+0,00 €) para descarga
Al comprar una partitura, usted puede contactar al compositor aquí mismo!
Especificaciones
Region
Latinoamérica
Estimated Duration
11 - 15min
Date
2019

ISMN : 979-0-2325-4354-3

Videos alrededor de ésta pieza
Descripción
The main idea of the piece was somewhat inspired by an experience I had years ago when attending to a harp recital. An
adaptation of a movement from a Bach solo violin sonata was part of the program. I perfectly knew the piece, since,
coincidently, I had studied the violin version that same year. So, when the harpist started to play, something very curious
happened with my perception: unwittingly, I started to hear all the resonances, the “residual echoes” (the hall was very
resonant), that kind of “aura” that is created by the harp playing, and which is never present in the violin version, as the main
thing; and the structural elements from the Bach language, that is, the succession of pitch and rhythm that should have been
in the foreground; as a subsidiary echo. The experience was similar to that which occurs when observing those images used to
depict the Gestalt phenomena, or even sometimes when looking at a random sky: suddenly a new form of organization
emerges, and one ceases to perceive what one was perceiving before. After the recital we talked with the performer about
the topic, and she told me that when playing, in order to concentrate as much as possible on what is relevant to the
execution, the harpist tends to develop a kind of aural blind spot (psychology calls it “scotoma”) in relation to the layer
composed by those sounds that keep sounding after the action of setting the strings to vibrate.
In Aurática, those subsidiary, collateral sounds become the main sonic subject, and, along with the choreography implied in
the instrumental actions of playing and coupled with some elements derived from the arts of prestidigitation (like
misdirection, masking, visual induction, etc.), form the substance of the piece.
Instrumentation
Harp
Recording
Alina Traine- Harp
Cana San Martín- sound director
Julio Martín Pavón- video director
Juan Zuldua- video editing
Francisco Huici- camera operator
Pablo Rubino Lindner- producing
Score Details
Format - Undefined
Pages - 20


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