Виктор Екимовский - Лунная соната - текст песни, слова, перевод, видео

Composition 60. Lunar sonata for piano (1993)

When I came up with something, I somehow immediately caught some hint of Beethoven’s “lunar”, on its 1st part, or rather. And then he began to “twist” this thought further and thought: why, in fact, one cannot call my composition “moon sonata”. Well, when this name was connected with my music, then, of course, everything went further and easier-some point has already appeared, which indicated the framework I needed, some designation of even the genre ...

And, of course, I wanted this work to have more than one idea. It is too simple - a minimalistic composition with one emotional idea, when from the first 3 tactes you immediately begin to understand what is happening and what will happen next, and that’s all! In my sonata, I decided to replenish a little with Beethoven, that is, if the listener sitting at the concert will know that the Lunar Sonata will be heard now and he will hear some distant connection with Beethoven, he will think that this will be so further. Not a devil like that! No! Then I do not do it. Indeed, if we talk about the Beethoven Sonata program, more precisely, this of its 1st part-so there: primitively, languid sighs, dreams and no active actions-Beethoven simply wants to be in some unproductive state, so to speak. And here I make a very cool turn, a very large accumulation of some kind of energy, which at the time of the climax pours into a completely different matter, including the harmonic-harmonic, and, of course, into a completely different rhythm-absolutely contrasting moment, and a completely contrasting moment, and a completely contrasting moment. All this is precisely at the time of the climax, which is not at all similar to Beethoven. And in this this is precisely the individual structural solution of my “lunar sonata”: here is the “ICT” that I contrast, one might say, Beethoven, that is, all his “dreams” and some “barren lust”, They pour out, so to speak, into something real, into this real ICT ...

But, in fact, this music is very abstract, and you should not look for some clear parallels with life phenomena here. It was just in theory, in thought, it seemed to me that Beethoven did not have enough such development in his “lunar sonata”, although this, of course, sounds paradoxically: “Beethoven was not enough.” Of course, as he wanted, he did, but in my understanding there could be another decision and it was in the genre of the 1st part of his “lunar sonata”, that is, within its limits, one could achieve something else, so to speak, so to speak .

And in the end - after the climax - there is a small reprise. Here everything calms down, naturally and some initial chords are repeated ...

My texture is all based on an ostinal figure - this is an allusion, but only Beethoven Trioli, and I have Quentoli, so there is some difference in this. Everything is absolutely designed on the organ bass from beginning to end, except again the climax, or rather, the approach to it, when everything begins to go to the bass from the sound of “re” and all the durations are reduced.

Sound material is built only according to the auditory sensation. Well, the only thing that is, of course, is the idea of accumulating 12-whispering-it takes place here, because it is not good to repeat the same sounds or duplicate. Now, when we come close to the climax, then in its huge chords, of course, there may already be duplication, because there are simply not enough new sounds. By the way, here one sound effect arose, which I seemed to have not expected then - this is the special expressiveness of each chord: here it stretches and since nothing is happening, naturally, you listen to how it sounds, and it turns out - there is in every chord there their overtone bends, which are very interesting to listen. I did not think about it, I will tell you honestly. But when the sonata began to play, it was somewhere on the 2nd or 3rd listening, I realized that the most, so to speak, the charm and beauty of these chords, it is precisely that they are withstanding, and you begin literally Swim in their overtones.