|Instrumentation:||clarinet (Bb/bass clarinet), violin, percussion, piano)|
|Duration:||approximately 21 minutes|
|Written for:||Kwartludium with support from Swedish Arts Grant|
|Premiere:||13 november 2021 in Växjö with Kwartludium|
|Score:||Buy score at BabelScores!|
|the form of collide
collide is a composite composition form from four separate parts (with different combinations of instrumentation).
However, they are not played in sequence but are fragmented into sections and distributed through the 21-minute duration of collide in this way: ( = leading role in the part):
additional notes on lectio brevis
The 2 parts of lectio brevis are quite different except that the violin plays the leading role in both parts (and both being a sort of dialectic (in a Hegelian sense) re‐reading of J.S. Bach’s double from Partita No.1 for violin) while the other instruments act as an almost “electronic” background. The first part consists of a sequence of disjunct phrases separated by short rests. These pauses should be as abrupt and silent as possible, almost as someone hits a mute button. The second part separates the left/right hand of the violin: left hand playing mostly glissandi between different “chords”. Both parts have the duration of approximately 160 seconds.
additional notes on ἀντί – Ἀνταῖος
The dynamics form a crucial aspect of the structure of ἀντί – Ἀνταῖος. The accented and non-accented sounds should be clearly distinguished from one another: the accented sounds are notated throughout two degrees louder than the non-accented ones. This scheme is however subject to rapid and often extreme variation in the clarinet and percussion parts, for example between p/ppp and fff/f. The violin part, on the other hand, consists mostly of gradual crescendi and diminuendi. ἀντί – Ἀνταῖος is fragmented into 4 parts, each with 22 bars in 6/8 but with a retarding tempo evolution: 120, 112.5, 108, 90 – meaning they get longer for each time. The barring of these parts is intended as an aid to coordination and has no metrical implications. The constantly-changing “metre” of the music should be associated principally with the aforementioned accentual framework.
additional notes on querschnitt
The 3 parts of querschnitt are basically different degrees of free improvisation with indications of instrumentation, duration, dynamic range and general approach. The durations of the 3 parts are: 116, 96 and 76 seconds – meaning they get shorter for each time.
additional notes on ciemna materia
The pitch-material of ciemna materia consists solely of 21 eighth-tone pitches: 6 for percussion (semi-tones, 7 for clarinet and 8 for violin
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