Artur Slotwinski, "...liberating-constraining..." for orchestra (2024) скачать в хорошем качестве

Artur Slotwinski, "...liberating-constraining..." for orchestra (2024)

Spitfire Audio BBC Symphony Orchestra Pro+SSO Horns+Nucleus Toms Sibelius with Noteperformer and Playback Engines About the piece ”...liberating - constraining...”: The piece in some extent was created with a usage of a some kind of short treatise mainly focused on phenomena concerning a specific types of chords. The chords themselves take a random triad or more compound structure as a basis, adding a series of tritones to it with an interval of a gap between each tritone. The term chord is to be meant as a harmonic structure - a basis for compositional processing within a musical context, as vertical, linear or other structure within the piece. The rules were created to have a fruition with a series of a chord charts in the end of the treatise. Each chart took as a basis a receipe for creating certain type of a chord. Each of the receipe was different in its root features which resulted with a sonoric qualities of each chord differentiating one chord from the other one so they could sound in a characteristic way so to speak. In the piece several sections take as a basis a tone palette of certain chord from the chart so that in music they depict the so called "constraining" factor within the narration of the piece. Whereas on the contrary, the "liberating" sections are more free in the creative process while trying to maintain the stylistic coherence with more strictly composed sections. Briefly speaking how the system of these "tritonesque" chords works in the music and what it is all about - all of that can be readin the treatise. Some pre-composing work before the actual composing started were done: several pages of a general and specific rules were written and a chord charts were created with some test chords in the final chapter of the treatise. The following summary shows the way and grammar of this specific system called „Tritone Sequence Chord System”. It must be underlined that the piece takes an inspiration from the treatise in some part, to some extent, mainly from the chord charts in the end of the treatise. To some extent the specific chords with its rules of creation depicted in the treatise were used in the piece. Only certain fragments of the piece use strict (or less strict) probabilities of the created chords - being used in vertical, linear or both ways, and in other versions within the composing process. After the summary section in the printed score there is an explanation which parts or bars of the piece take the chords from the chord chart of the treatise and how they are put into the „constrained” music (constrained like hands in cuffs, where a free move is limited). Obvioulsly after „constrained” sections more „liberated” music is being heard but all being composed with a stylistic and aesthetic unity in mind, which of course doesn’t mean that rapid contrasts are forbidden... AS