Poul Ruders - Tattoo for One (1984) скачать в хорошем качестве

Poul Ruders - Tattoo for One (1984)

Performed by Emily Ji July 7, 2021, Britton Recital Hall (U-M School of Music, Theatre & Dance) Recording and editing done by Nightingale Media Tattoo for One Poul Ruders B: 27 March 1949; Ringsted, Denmark Composed: 1984 Instrumentation: clarinet Poul Ruders (b. 1949) is a Grammy nominated Danish composer who is largely known for his operas and orchestral works. Ruders studied orchestration with Karl Aage Rasmussen and has created a large body of music consisting not only of operas and orchestral works but also many chamber, vocal, and solo works in a variety of styles. His operas have been staged in Copenhagen, New York City, London, Toronto, Munich, Boston, and San Francisco, and his orchestral music has been commissioned and performed by orchestras including the Berlin Philharmonic, New York Philharmonic, and the BBC Symphony Orchestra. Tattoo for One is published with the following preface written by Bertel Krarup: TATTOO FOR ONE (1984) is a virtuoso tour de force and as such can be looked upon as a kind of preparatory work to the later CLARINET CONCERTO (1985). TATTOO FOR ONE is characterized by Ruders’ inexhaustible instrumental fantasy, together with the associations arising from the notation of a tattoo: an outdoor military parade at dusk. Rhythmic energy, and a finely edged treatment of motifs (including fragments of fanfare-like character) crowd in on the listener. TATTOO FOR ONE was later in 1984 followed by a sister work, TATTOO FOR THREE, for clarinet, cello and piano. Ruders created another sister work in 2017, Tattoo for Four. In his own words, “TATTOO FOR FOUR is in reality the same piece as TATTOO FOR THREE from 1984, but with a fourth voice - for violin - added.” The “tattoo” in the title can be generally understood as a rapid rhythmic tapping. Several tattoo motifs can be heard throughout the piece, marked by the percussive repetition of the same pitch tapping out a specific rhythmic fragment. The term comes from the early 17th-century Dutch phrase doe den tap toe (“turn off the tap”), a signal sounded by drummers during the Thirty Years’ War in the Low Countries to instruct innkeeps near military garrisons to stop serving beer and for soldiers to return to the barracks. This tattoo is unrelated to the Tahitian origins of an ink tattoo. The military reference in the title of this work points to the strict rhythmic rigidity the performer must uphold. Study and performance of this work requires a great deal of technical and mental stamina as a result of the inexhaustible and unrelenting nature of the music. Most of the piece is written without a time signature, so the difficulty lies in maintaining a consistent eighth note pulse while shifting between the triple and duple groupings, all while leaping across the range of the instrument. The piece opens with a quiet tattoo approaching and eventually explodes into an exciting, pressing fanfare. The tattoo is occasionally interrupted by subito pp moments, but quickly marches on after each disruption. Soon after, the performer bursts into long, trumpet-like fermata notes embellished with semitones, eventually culminating into the clarinetist spinning around while playing bell up, creating a sort of Doppler effect. We are then given a brief reprieve from the unrelenting tattoo with a short pp “beep-beep computer game” section. After the return to the initial tattoo, Ruders gives the marking “extremely fast and wild.” The piece picks up in both register and speed as the performer spins again with her bell up before triumphantly ending on one of the highest notes on the clarinet. https://www.emilyjiclarinet.com/ The video series "Ruders and Nørgård: A look within the Danish repertoire" was supported in part through the School of Music, Theatre & Dance Eileen Weiser EXCEL Fund as well as the Rackham Graduate Student Research Grant.