Виктор Екимовский - Полёты воздушных змеев - текст песни, слова, перевод, видео

"Flights of air snakes." Composition 59 for a quartet of soprania block fliles (1992)

This score was written by one of the organizers of the Basel festival Conrad Steinmann. It was a festival dedicated exclusively to the music of the block flot. It was called "the meeting of Switzerland with Eastern Europe. International Days of New Music for Block Fleet. ”

Well, this is this Steinmann, he asked to write just some kind of block flot ensemble, and as a result I got this essay for four soprannet flot. By the way, the culture of the block flot in the West is very high and this tool is incredibly popular not only among professionals, but also among lovers ...

In the 92nd year, when I was in Winterura, he came to my concert, well, and since then we have been friends with him. This is an amazing flutist, that is, with such a technique that it is simply amazing. And by the way, he is still a collector of the rare collection of wind instruments. Any museum can envy his meeting.

The idea of this composition is quite simple-imagine some kind of holiday when air snakes are launched into the sky-one, two, five, ten and so on, and there, highly they fly upstairs. Actually, my whole program is based on this naturalistic plot - an absolutely natural program and without any philosophy: fast ascending passages along the bordering durations - snakes take off, and then - only constant rotations of five chromatic notes (between the “fa” and “la” of the third octum ) - This is their flight in the skies, so to speak, and there is nothing more.

- The material here develops like a canon!?

- Yes, this is technically completed just in the form of an elementary canon, that is, one batch for the first voice was written and then, with a lag in a few seconds, the second voice enters, then the third, fourth - and so from the beginning to the end. The only thing that distinguishes them, so these passengers are flying up, who always change a little in their interliga.

“But you only have sound material.”

- Of course, because the strokes in the voices, they are different, and the rhythm is different, and the pauses are different, and the notes are yes! - They are repeated, imitated, that is, there is only a canon of notes, and everything else for each performer is formed arbitrarily. And the end, by the way, is also arbitrary for each block-fluist-he is given to everyone without a certain height of the sound, because all my snakes fly away into some invisible distances ...

The timbre block flot is very nice, although a little squeak. Here it is so conceived (here there is even a special footnote in the text) so that the performers are located above the public - on a gallery, anywhere! If only it was higher - the audience in the hall should not know where the sounds suddenly begin to come from ...

The premiere took place six months after writing. And it was played at the Basel Music Academy. A very interesting festival and very large. Moreover, at the festival a variety of types of block fliles were presented, up to the smuggling-above human height, can you imagine!? Well, plus to that, there were even new dark moments for me, very unexpected and pleasant - these are all non -dimensional instruments, and their sounds do not always fall on a tempered half -tone scale, and at some points there are sometimes free quasi ...

Everything turned out well. The reaction, in general, was good from different sides and performers, by the way, were very pleased - played with obvious enthusiasm. They settled on the balcony, over the public - and this created a very specific effect: the sounds poured directly “from the sky”. This essay would be nice to fulfill in the Rakhmaninovsky hall where you can arrange the performers not only upstairs and around the perimeter, but also in different corners, and then even a special quadrophonic effect would be obtained ...