Ritmes I, II, III i IV
Inside Pages
Author/Composer
Field
Collection
Obres per a piano d'Antoni Besses (digital PDF copy) Nr. 3
Language
Spanish, Catalan, Music, English
Format
Contents
The works Ritmes (Rhythms) I, II, III and IV were written between the years 1977 and 1981. They conform a whole both in concept, and complementation of the writing and musical concepts. These pieces may be regarded as true rhythmic studios, constructed in the speculation suggested by the fascinating, infinite variants conforming the ordering of movement - i.e. rhythm. Rhythm is as important as sound for music to exist. Thus, it seems that combining them is as hard as it gets to enter the mysterious land of music. This game is, however, more transcendent and profound than it may seem. In these pieces, I am only driven by the force of the opposites; evenness-unevenness, symmetry-asymmetry, expectation-surprise, etc. that conform the very nature of rhythm. Sound and resonance - as proper and exclusive to the piano as they are -, and the infinite range of possible colours to be produced are also present in these Ritmes. It is the fusion of these concepts what helps me and impels me to follow paths and ideas that are valid and that deliver a sonorhythmic palette applicable to an instrument of such a specifically evocative character instrument as the piano.
Antoni Besses
Antoni Besses
Instruments
PianoTechnical Specifications
Measurements
21 x 29,7 cm, vertical
Number of Pages
27
ISMN
979-0-69232-776-9
Editor
DINSIC Publicacions Musicals
Related Publications
Score
Ritmes I, II, III i IV
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The works Ritmes (Rhythms) I, II, III and IV were written between the years 1977 and 1981. They conform a whole both in concept, and complementation of the writing and musical concepts. These pieces may be regarded as true rhythmic studios, constructed in the speculation suggested by the fascinating, infinite variants conforming the ordering of movement - i.e. rhythm. Rhythm is as important as sound for music to exist. Thus, it seems that combining them is as hard as it gets to enter the mysterious land of music. This game is, however, more transcendent and profound than it may seem. In these pieces, I am only driven by the force of the opposites; evenness-unevenness, symmetry-asymmetry, expectation-surprise, etc. that conform the very nature of rhythm. Sound and resonance - as proper and exclusive to the piano as they are -, and the infinite range of possible colours to be produced are also present in these Ritmes. It is the fusion of these concepts what helps me and impels me to follow paths and ideas that are valid and that deliver a sonorhythmic palette applicable to an instrument of such a specifically evocative character instrument as the piano.
The autor
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