Yulianna Vaydner, Soprano. Pascal Pons, Nick Reed, Percussion.
A hyperrealistic Recording The score is recorded part by part in a studio with only one musician at a time. The recording has therefore as many isolated tracks as musicians. Small passages are recorded, inaccuracies are corrected and assembled. The complete recording is placed in a virtual concert hall. The aim is to obtain a precise and transparent recording.
Commentary
This is the first work in a series of works in which the Thomas Hummel deals with the russian clergyman and writer Pawel Adelgeim. Adelgeim lived in Pskov and was murdered in 2013. In the time of soviet union, he was known as dissident and fighter for religious freedom. After the dissolution of the soviet union, he became a critic of the new relation between orthodox church and state.
Generally, the composer is interested in asymmetric and unusual settings. Vermächtnis is one of the first examples. Six percussionists perform together with one singer. In Sadedz, the setting is five trumpets and two keyboards and one violoncello. In Liod, four bass tubas, one contrabassoon, two violas and more add up to a real abnormal ensemble. He thus pursues the goal of escaping the normal sound of the typical line-ups of ensembles of new music with solo instruments (flute, clarinet,…violoncello) - the Pierrot setting.
For a long time, Thomas Hummel has been concerned with the relationship between real musicians and loudspeaker musicians, i.e. instrumental voices that are played over loudspeakers. Vermächtnis is actually simply composed for six percussionists. The consequence of the dense musical expression, however, is that the virtuosity of the performance repeatedly exceeds the capabilities of a percussionist. Instead of allowing inaccuracies and distortions as in the New Complexity style , the instrumental movement is partly shifted to the loudspeakers. This allows the real musician to interpret the instrumental setting precisely. In this recording, the entire movement was recorded with two percussionists and worked on in detail so that an exact sonification of the score was obtained. Parts of this recording are in turn the basis for the loudspeaker playback.
Duration
21 min
Performances
Percussions de Strasbourg, Viktorija Pakalniece. GNM Mannheim 2023 Percussions de Strasbourg, Viktorija Pakalniece. Baltic Music Days Cesis, Latvia 2023
Instrumentation
Soprano 6 real/virtual percussionists.
Percussion passages or even complete percussion parts may be replaced by electroacoustic percussion samples if - percussion passages are too complex - the piece should be performed with less percussionists. In this case, a computer with Max/msp runtime software (www.cycling74.com), a small mixing device , a headset for the conductor and 2 - 4 loudspeakers are required. Please contact the composer.
Text
Will I lived like I wanted to and died as best I could. In this world, we are all guests. In deathly gloom Under stones and cross Rest in peace, bones. My judges: i don‘t know, My doctors: i forgive.
I replaced one evil by another. Leave the writings to the museum, Shove my body into the coffin of saints For ever and ever, Amen.
Завещание Я прожил как хотел и умер как умел. Мы все в сем мире гости. во мраке гробовом, под камнем иль крестом покойтесь мирно, кости. Судей своих не знаю, врачей своих прощаю.
Я клином вышиб клин. В музей отдать бумаги, а тело сунуть в раки во век веков, аминь.
for soprano und 6 percussionists (2015) Texts by Pawel Adelgeim Score Video Recording " Yulianna Vaydner, Soprano. Pascal Pons, Nick Reed, Percussion. A... read more »
Yulianna Vaydner, Soprano. Pascal Pons, Nick Reed, Percussion.
A hyperrealistic Recording The score is recorded part by part in a studio with only one musician at a time. The recording has therefore as many isolated tracks as musicians. Small passages are recorded, inaccuracies are corrected and assembled. The complete recording is placed in a virtual concert hall. The aim is to obtain a precise and transparent recording.
Commentary
This is the first work in a series of works in which the Thomas Hummel deals with the russian clergyman and writer Pawel Adelgeim. Adelgeim lived in Pskov and was murdered in 2013. In the time of soviet union, he was known as dissident and fighter for religious freedom. After the dissolution of the soviet union, he became a critic of the new relation between orthodox church and state.
Generally, the composer is interested in asymmetric and unusual settings. Vermächtnis is one of the first examples. Six percussionists perform together with one singer. In Sadedz, the setting is five trumpets and two keyboards and one violoncello. In Liod, four bass tubas, one contrabassoon, two violas and more add up to a real abnormal ensemble. He thus pursues the goal of escaping the normal sound of the typical line-ups of ensembles of new music with solo instruments (flute, clarinet,…violoncello) - the Pierrot setting.
For a long time, Thomas Hummel has been concerned with the relationship between real musicians and loudspeaker musicians, i.e. instrumental voices that are played over loudspeakers. Vermächtnis is actually simply composed for six percussionists. The consequence of the dense musical expression, however, is that the virtuosity of the performance repeatedly exceeds the capabilities of a percussionist. Instead of allowing inaccuracies and distortions as in the New Complexity style , the instrumental movement is partly shifted to the loudspeakers. This allows the real musician to interpret the instrumental setting precisely. In this recording, the entire movement was recorded with two percussionists and worked on in detail so that an exact sonification of the score was obtained. Parts of this recording are in turn the basis for the loudspeaker playback.
Duration
21 min
Performances
Percussions de Strasbourg, Viktorija Pakalniece. GNM Mannheim 2023 Percussions de Strasbourg, Viktorija Pakalniece. Baltic Music Days Cesis, Latvia 2023
Instrumentation
Soprano 6 real/virtual percussionists.
Percussion passages or even complete percussion parts may be replaced by electroacoustic percussion samples if - percussion passages are too complex - the piece should be performed with less percussionists. In this case, a computer with Max/msp runtime software (www.cycling74.com), a small mixing device , a headset for the conductor and 2 - 4 loudspeakers are required. Please contact the composer.
Text
Will I lived like I wanted to and died as best I could. In this world, we are all guests. In deathly gloom Under stones and cross Rest in peace, bones. My judges: i don‘t know, My doctors: i forgive.
I replaced one evil by another. Leave the writings to the museum, Shove my body into the coffin of saints For ever and ever, Amen.
Завещание Я прожил как хотел и умер как умел. Мы все в сем мире гости. во мраке гробовом, под камнем иль крестом покойтесь мирно, кости. Судей своих не знаю, врачей своих прощаю.
Я клином вышиб клин. В музей отдать бумаги, а тело сунуть в раки во век веков, аминь.
