Bernard Cavanna
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land erosion A4 z 3 1 547
land erosion A4 z 3 7 553
land erosion A4 z 3 8 554


for solo piano

6,00 €
Printed format option

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Estimated Duration
6 - 10min

ISMN : 979-0-2325-1663-9

In Stock
Notes sur cette pièce
When I was asked to write a piano piece I was also requested to observe 2 rules:
1. The title had to contain the word “land” (in my mother tongue).
2. The duration of the piece should be 6-7 minutes.
Eventually I broke the second rule since the duration of the piece ended up around 8½ minutes.
But considering the more interesting ‘rule’ the meaning of –land– in Swedish (land is the same in Swedish and English as well as in German etc.) could be several with 2 of the most common being:
- a country, state, nation, kingdom, province, etc.
- the solid surface of the Earth that is not covered by water (earth, soil etc.)
Now the first of these meaning doesn’t interest me the slightest… not in any musical terms, not in any political terms. So, I had to think and search for something geological that could get my musical imagination going.
“the action of exogenic processes (such as water flow or wind) which remove soil and rock from one location on the Earth’s crust, then transport it to another location where it is deposited. Eroded sediment may be transported just a few millimetres, or for thousands of kilometres.”
One thing that has interested me the last couple of years, as a performer, is improvisation, and especially the different results one gets comparing improvisation with composition both in the material ‘generated’ and how it can be transformed musically. In land–erosion I found a way to incorporate both of these aspects. Namely, one of the large scale processes that is going on is how an initially improvised material (which is the very beginning of the piece (bar1-8) is “pushed to the next section” so to speak. (What is improvised and what is composed is not always very clear, and I will leave it at that.)
The material first created as an improvisation, transcribed into the piece, is thus constantly re-interpreted, sometimes in a very systematic way, sometimes as a new improvisation based on the very same systematic re-interpretation. The material is eroded as it were: always changing the musical landscape.
Sometimes the musical result is, for me, surprising… how one aspect, for example a gesture, can transform, with intellectual analysis, into something quite different, but anyway there is something there, something musically common… and then once again transform in a more direct way… hands on so to speak (literally). It also seems to me that the ‘atmosphere’ of the music is going through erosion, which is also something that interests me… in my mind there’s a story being told (admittedly a very abstract one).
Yet another aspect of the piece is it relative complexity, forcing the performer to both take decisions but also to make a sort of ‘quasi-improvised’ reading of the musical text.
While the very last bars of this piece could, if one winches, be considered as a musical closure, bringing it back to its initial ‘state’ so to speak, it could also very well be seen as a new beginning… a way out – into – an extension of the piece (a continued improvisation).
Score Details
Format - A4 / US Letter
Pages - 28

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