Эдисон Денисов - Камерная музыка - текст песни, слова, перевод, видео

Chamber Music for Alta, Harvest and String (1982)

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This essay was written by me about the request of the outstanding of our altist Yuri Bashmet. It was played by them many times in Moscow, and in St. Petersburg, and in the Baltic states. And usually with the Saulus Orchestra Sondetkis.

The composition is small, about 12 minutes, quiet, one -part and non -nirtual. It is written quite simply, and a little like those of my concerts that can be called "Monologists concerts." There is also a solo Alta, there are several quasi-salt harpsichord, and there is even Alta cadence. But this, after all,, so to speak, is only a “concert minimonologist”, because there are very few elements of real concert here, and there are almost no virtuoso music at all. The same cadence of Alta, for example, it is completely non -nirtual.

The string orchestra in the composition is ordinary and participates in almost the entire essay. Sometimes it is interpreted as a normal, that is, such a traditional 5-headed orchestra, but most often split into separate voices-each musician here has an almost independent part of his own. But this is not Divisi, no, but above all, the use of the orchestra as the sum of soloists.

The whole letter is purely chamber and mainly polyphonic.

- The rhythmic pattern here is quite simplified and, I would even say, not quite yours.

- This is true. Of course, it is somewhat more elementary here in comparison with my other things - it has much more simple and even eighth and quarters.

-Such a letter was again caused by some genre or just timbre associations?

- Rather, both of them. Here, of course, there are some allusions with the music of past centuries: because the string orchestra sounds, because the harpsichord sounds, and there is even such a QUASI cytate from the pre-minor fugue of Bach. She passes here several times changing. But this is not a “direct” Bakho theme, although the allusion to it was made by me quite consciously, this is more only its rhythm, which is literally at each of us. And the same thing is the harpsichord timbre, of course, it cannot but cause a real time allusion with past centuries. But there is no direct stylization here, although, say, the same harpsichord creates a little, nevertheless, an allusion to Basso Continuo. But in fact, there is no real Basso Continuo here at all.

And again, there is no stylized old tonal music anywhere here. Sometimes it is only as quasi-tonal. For example, in climax. Here, as you can see, the entire string orchestra suddenly takes the pre-Minor chord of fortissimo and then, right there, the altist begins his solo from the note of the re-Bemol-this is very expressive and almost tonal. The note sounds immediately, and in itself it should be played very expressively. But tonality, as such, is certainly not here.