Outonal inspiração
Devo à minha querida amiga Ana Margarida Oliveira Martins a chamada de atenção para esta peça. Não gostaria de condicionar a opinião de quem decidir aceitar a sua partilha o que não me impede de saudar esta obra de Lucia Caruso com o entusiasmo que vou acumulando de outras propostas desta compositora.
Parece-me ser um segredo demasiado bem guardado para que, entre nós, se mantenha como um quase segredo... Esta é uma linguagem musical «de sempre», servida por uma orquestração de excelente «oficina», revelando um domínio que pede meças ao que de melhor se continua a fazer, neste segmento da música actual, por esse mundo fora. A London Metropolitan Orchestra num belo trabalho de interpretação. A vossa atenção para a excelente qualidade da gravação.
Enfim, se não pretendo condicionar a vossa percepção e avaliação, o melhor é parar por aqui. De qualquer modo, respeitando o texto no Inglês original, considero indispensável reproduzir as palavras da autora, até porque o seu testemunho, desde o enquadramento inicial da encomenda até ao detalhe da inspiração motívica é factor do maior interesse para o mais conveniente acesso à obra. A London Metropolitan Orchestra num belo trabalho de interpretação. A vossa atenção para a excelente qualidade da gravação.
__________________________
"This work was recorded by the London Metropolitan Orchestra at Abbey Road Studios with renowned producer Steve McLaughlin and premiered at an exhibition at the Louvre Museum, and in 2 special concerts at the Tuileries Garden for a crowd of thousands by Orchestre Lamoureux. This piece was commissioned by an important Korean foundation.
This is the first piece that was commissioned for the "Through My Window" series. The overture is the opening of this musical project and some of its themes will be heard in other compositions. The structure of this overture is in three movements, which are played without interruption: I- Birds at Dawn; II- Autumn; III- Birds Soaring.
The first movement represents the awakening of the birds singing in the early morning. I have always been deeply touched by birds, so my eyes were drawn to the photos of birds to start composing for this series. Birds are the musicians of nature, who are closest to the Divine, and therefore the most perfect of all. This piece starts with a soft tremolo on the strings in a high register representing the gracious movement of the wings of the birds, while the harp plays a theme that will be fully developed in the second movement. The inspiration for two of the main themes of this overture comes from my endless walks in the woods, where I heard the singing of two specific birds of North America. One of these birds is the black-capped chickadee, which always sings perfectly in tune a minor third down plus a major second down, as if it were playing an instrument. I quoted this bird’s motif and developed it into a full melody. I am not familiar with the name of the second bird, but I am fascinated by its unusual descending fast motive in double notes, producing fascinating harmonies. I represent this second bird with a fast motive played by the harp and the flute together.
The second movement represents autumn itself. Autumn is my favorite season in the year; and my eyes were also drawn to the colorful autumn photos that inspired this overture. It is the calmest of the three movements, representing the contemplation and the passing from a more youthful and warm season such as summer, to a more meditative and older winter. Personally, the harp produces two sensations in me: enchantment and warm colors. I decided to paint the red, yellow and orange leaves in my imagination with the warm sounds of the harp, which is the protagonist in this movement. The fast tremolo accompaniment on the strings represents the breeze, which makes the leaves fall, while the rest of the melodies represent the calm pace of a colorful autumn day.
The third movement is the most climactic and powerful in terms of orchestration and thematic development. I combine most of the themes from the previous two movements and transform them in various ways. This is the moment when birds take flight. I represent this by inverting the first theme of the black-capped chickadee, which is originally a descending motive, into an ascending, slower, and majestic melody. The work ends as it started, with the autumn melody transformed to the Dorian mode on the harp, while the strings create a peaceful and quiet background to the second bird’s mesmerizing cal.
- Lucia Caruso
_________________
E, a concluir, votos de
Boa Audição
https://youtu.be/imFJc5IGFXU?
Devo à minha querida amiga Ana Margarida Oliveira Martins a chamada de atenção para esta peça. Não gostaria de condicionar a opinião de quem decidir aceitar a sua partilha o que não me impede de saudar esta obra de Lucia Caruso com o entusiasmo que vou acumulando de outras propostas desta compositora.
Parece-me ser um segredo demasiado bem guardado para que, entre nós, se mantenha como um quase segredo... Esta é uma linguagem musical «de sempre», servida por uma orquestração de excelente «oficina», revelando um domínio que pede meças ao que de melhor se continua a fazer, neste segmento da música actual, por esse mundo fora. A London Metropolitan Orchestra num belo trabalho de interpretação. A vossa atenção para a excelente qualidade da gravação.
Enfim, se não pretendo condicionar a vossa percepção e avaliação, o melhor é parar por aqui. De qualquer modo, respeitando o texto no Inglês original, considero indispensável reproduzir as palavras da autora, até porque o seu testemunho, desde o enquadramento inicial da encomenda até ao detalhe da inspiração motívica é factor do maior interesse para o mais conveniente acesso à obra. A London Metropolitan Orchestra num belo trabalho de interpretação. A vossa atenção para a excelente qualidade da gravação.
__________________________
"This work was recorded by the London Metropolitan Orchestra at Abbey Road Studios with renowned producer Steve McLaughlin and premiered at an exhibition at the Louvre Museum, and in 2 special concerts at the Tuileries Garden for a crowd of thousands by Orchestre Lamoureux. This piece was commissioned by an important Korean foundation.
This is the first piece that was commissioned for the "Through My Window" series. The overture is the opening of this musical project and some of its themes will be heard in other compositions. The structure of this overture is in three movements, which are played without interruption: I- Birds at Dawn; II- Autumn; III- Birds Soaring.
The first movement represents the awakening of the birds singing in the early morning. I have always been deeply touched by birds, so my eyes were drawn to the photos of birds to start composing for this series. Birds are the musicians of nature, who are closest to the Divine, and therefore the most perfect of all. This piece starts with a soft tremolo on the strings in a high register representing the gracious movement of the wings of the birds, while the harp plays a theme that will be fully developed in the second movement. The inspiration for two of the main themes of this overture comes from my endless walks in the woods, where I heard the singing of two specific birds of North America. One of these birds is the black-capped chickadee, which always sings perfectly in tune a minor third down plus a major second down, as if it were playing an instrument. I quoted this bird’s motif and developed it into a full melody. I am not familiar with the name of the second bird, but I am fascinated by its unusual descending fast motive in double notes, producing fascinating harmonies. I represent this second bird with a fast motive played by the harp and the flute together.
The second movement represents autumn itself. Autumn is my favorite season in the year; and my eyes were also drawn to the colorful autumn photos that inspired this overture. It is the calmest of the three movements, representing the contemplation and the passing from a more youthful and warm season such as summer, to a more meditative and older winter. Personally, the harp produces two sensations in me: enchantment and warm colors. I decided to paint the red, yellow and orange leaves in my imagination with the warm sounds of the harp, which is the protagonist in this movement. The fast tremolo accompaniment on the strings represents the breeze, which makes the leaves fall, while the rest of the melodies represent the calm pace of a colorful autumn day.
The third movement is the most climactic and powerful in terms of orchestration and thematic development. I combine most of the themes from the previous two movements and transform them in various ways. This is the moment when birds take flight. I represent this by inverting the first theme of the black-capped chickadee, which is originally a descending motive, into an ascending, slower, and majestic melody. The work ends as it started, with the autumn melody transformed to the Dorian mode on the harp, while the strings create a peaceful and quiet background to the second bird’s mesmerizing cal.
- Lucia Caruso
_________________
E, a concluir, votos de
Boa Audição
https://youtu.be/imFJc5IGFXU?
This work was recorded by the London Metropolitan Orchestra at Abbey Road Studios with renowned…
youtube.com
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