Use this URL to cite or link to this record in EThOS: http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.656915
Title: Portfolio of compositions and technical commentary
Author: Hancke, Matias
ISNI:       0000 0004 5350 0666
Awarding Body: King's College London (University of London)
Current Institution: King's College London (University of London)
Date of Award: 2014
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Abstract:
The eight compositions in this portfolio explore matters of form and sound-constructions as well as their points of intersection, gradually shifting from the ‘teleological forms’ of the earlier works to ‘fragmented’ ones consisting of a succession of ‘musical aphorisms’, and from ‘melodic contours’ to ‘single articulations’. I aim to find those elements that are essential and what Lachenmann refers to as ‘magical’ for a musical piece, by striving progressively to strip out all decorative elements or layers. Largely teleological in its conception, Relieves (for ensemble) is driven by the directionality of its pitch configurations and the rhythms of particular phrases while the harmonic content of each section is distinct. Diáfano (for bass clarinet) exhibits a concern with matters related to ‘tradition’ and ‘identity’ motivated by the use of borrowed materials: an Argentine zamba. In Contornos. Transparencias. Gradaciones (for flute, violin, viola and piano) clearly defined points of departure and arrival are combined with static harmonies and long pedal notes framing shorter events, whose function is to enrich its various layers by virtue of their timbral qualities. Preoccupations with ‘context’ and ‘depth’ were central to the composition of Deshielo/Laissez vibrer (for ensemble). In these pieces an enhanced sense of depth (in both a spatial and an emotional sense) arises from the juxtaposition of music with contrasting degrees of distinctiveness. The main concern in w/brennt (for ensemble) was to juxtapose sections without any development or transitional process in between. w/brennt is a sequel to Deshielo/Laissez vibrer inasmuch as the former, though fragmented into different sections, similarly moves from vitality to repose. Silber/Strom (for two violins, viola and cello) explores high degrees of differentiation within the short utterances of the four string instruments. The piece is organised in terms of the polarity between simultaneity and non-simultaneity. The idea of composing with ‘musical aphorisms’ that bear ambivalent relationship with each other in the sense that they while coexisting in the same piece are not related in a causal fashion appears for the first time in su – atS (a trio for bass clarinet, percussion and cello). While in su - atS ‘punctuation’ plays a part, In tueri I (for alto flute) deliberately avoids it. Depending on the perceptual focus, the latter may be experienced as either a contemplative or a dramatic piece, the fragility of its sound-world constantly endangering the unfolding of the music.
Supervisor: Milstein, Silvina Raquel Sponsor: Not available
Qualification Name: Thesis (Ph.D.) Qualification Level: Doctoral
EThOS ID: uk.bl.ethos.656915  DOI: Not available
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