Composing for voices and instruments interests me very much. How can you make them melt together? How do voices and instruments colour each other\u2019s sound?<\/p>\n
<\/p>\n
The register of the cello is roughly the span of the mixed choir: from the second basses\u2019 low C up to the sopranos\u2019 highest notes \u2013 and even higher. In spite of the fact that it is a low instrument in the string family, the cello sounds strong and expressive in high register. Maybe it is not so hard to imagine the sound of cello with basses and tenors; they \u201csing\u201d occasionally together. But how does the cello sound in unison with the sopranos on a second-octave A?\u2019<\/p>\n
<\/p>\n
Harry Martinson\u2019s poem V\u00e4rldsklockan\/The World Clock is well suited for being set to music for cello and choir. It speaks of depths and heights. And the world clock allows for large swings of its great pendulum, and for drama.<\/p>\n
<\/p>\n
Finally, after the drama, there is a coda in the piece. It should be performed very gently, with indistinct vowel sounds in the choir. \u201cFragile, as if after the catastrophe\u201d according to the score.<\/p>\n
| V\u00e4rldsklockan<\/em><\/p>\n Tungt haven \u00e4ter p\u00e5 tidens berg<\/p>\n Och bergen samlas i tidens hav.<\/p>\n D\u00e4r skogen fanns djupnar fiskens dalar.<\/p>\n D\u00e4r haven l\u00e5g susar skogen sval.<\/p>\n V\u00e4rldsklockor tickar och rymden glimmar.<\/p>\n Allt v\u00e4xlar l\u00e4ge och ordningstal.<\/p>\n Dock \u00e4r de r\u00e4knade, v\u00e4rldens timmar<\/p>\n P\u00e5 Gaurisankar, i havets dal.<\/p>\n \n | The World Clock<\/em><\/p>\n Seas weighted eat upon hills of time;<\/span><\/p>\n The hills have gathered in time\u2019s sea.<\/span><\/p>\n Where forests were, fishes\u2019 valleys deepen.<\/span><\/p>\n Where seas once lay, forests whisper cool.<\/span><\/p>\n World clocks are ticking and space is a\u2019shimmer.<\/span><\/p>\n All changes place and number order.<\/span><\/p>\n Yet they\u2019re counted, the world\u2019s hours<\/span><\/p>\n On Gauri Shankar, in the sea\u2019s valley.<\/span><\/p>\n <\/p>\n *<\/p>\n Someone said: Time is calling to you. <\/span><\/p>\n Your answer was then: I know time yet I know it not.<\/span><\/p>\n Time is a monster with heads a thousand.<\/span><\/p>\n Which one of the heads is calling to me.<\/span><\/p>\n So many paths to choose<\/span><\/p>\n yet all end up in one that\u2019s larger:<\/span><\/p>\n the one with the power to lure those that are lost<\/span><\/p>\n on that very path leads them all astray<\/span><\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n <\/p>\n","protected":false},"excerpt":{"rendered":" Composing for voices and instruments interests me very much. How can you make them melt together? How do voices and instruments colour each <\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"ngg_post_thumbnail":0,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":true,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2},"jetpack_post_was_ever_published":false},"categories":[22],"tags":[],"class_list":["post-1127","post","type-post","status-publish","format-standard","hentry","category-programme-notes"],"jetpack_publicize_connections":[],"jetpack_featured_media_url":"","jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/p79arM-ib","jetpack-related-posts":[{"id":2069,"url":"https:\/\/karin-rehnqvist.se\/eng\/premiere-of-a-new-choral-suite\/","url_meta":{"origin":1127,"position":0},"title":"Premi\u00e8re of a new choral suite","author":"admin2","date":"February 16, 2021","format":false,"excerpt":"On March 27, 2021, there will be a pr\u00e8miere of a new suite with three pieces for choir by Karin Rehnqvist \u2013 Time is calling to you! The performance is done during the festival Svensk Musikv\u00e5r in the concert hall Musikaliska, Stockholm. Participating in the world premi\u00e8re are Gustaf Sj\u00f6kvist's\u2026","rel":"","context":"In "Latest"","block_context":{"text":"Latest","link":"https:\/\/karin-rehnqvist.se\/eng\/category\/latest\/"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/karin-rehnqvist.se\/eng\/wp-content\/uploads\/2021\/02\/Tiden-ropar_svit-KR_3.jpg?fit=1200%2C671&ssl=1&resize=350%2C200","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/karin-rehnqvist.se\/eng\/wp-content\/uploads\/2021\/02\/Tiden-ropar_svit-KR_3.jpg?fit=1200%2C671&ssl=1&resize=350%2C200 1x, https:\/\/i0.wp.com\/karin-rehnqvist.se\/eng\/wp-content\/uploads\/2021\/02\/Tiden-ropar_svit-KR_3.jpg?fit=1200%2C671&ssl=1&resize=525%2C300 1.5x, https:\/\/i0.wp.com\/karin-rehnqvist.se\/eng\/wp-content\/uploads\/2021\/02\/Tiden-ropar_svit-KR_3.jpg?fit=1200%2C671&ssl=1&resize=700%2C400 2x, https:\/\/i0.wp.com\/karin-rehnqvist.se\/eng\/wp-content\/uploads\/2021\/02\/Tiden-ropar_svit-KR_3.jpg?fit=1200%2C671&ssl=1&resize=1050%2C600 3x"},"classes":[]},{"id":2195,"url":"https:\/\/karin-rehnqvist.se\/eng\/all-the-choral-works-by-karin-rehnqvist\/","url_meta":{"origin":1127,"position":1},"title":"All choral works by Karin Rehnqvist","author":"admin2","date":"September 18, 2021","format":false,"excerpt":"Since 1983, she has composed choral music for all kinds of ensembles: treble choir, powerful girls' choir, women's choir, men's choir, mixed choir, and soloist choir. A cappella or with varying instrumental accompaniment. Most things have been going forward. But her real breakthrough work from 1994 - David's Nimm -\u2026","rel":"","context":"In "Latest"","block_context":{"text":"Latest","link":"https:\/\/karin-rehnqvist.se\/eng\/category\/latest\/"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/karin-rehnqvist.se\/eng\/wp-content\/uploads\/2021\/09\/Karin-Rehnqvist-2019_popartnoter_2.jpg?fit=1200%2C774&ssl=1&resize=350%2C200","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/karin-rehnqvist.se\/eng\/wp-content\/uploads\/2021\/09\/Karin-Rehnqvist-2019_popartnoter_2.jpg?fit=1200%2C774&ssl=1&resize=350%2C200 1x, https:\/\/i0.wp.com\/karin-rehnqvist.se\/eng\/wp-content\/uploads\/2021\/09\/Karin-Rehnqvist-2019_popartnoter_2.jpg?fit=1200%2C774&ssl=1&resize=525%2C300 1.5x, https:\/\/i0.wp.com\/karin-rehnqvist.se\/eng\/wp-content\/uploads\/2021\/09\/Karin-Rehnqvist-2019_popartnoter_2.jpg?fit=1200%2C774&ssl=1&resize=700%2C400 2x, https:\/\/i0.wp.com\/karin-rehnqvist.se\/eng\/wp-content\/uploads\/2021\/09\/Karin-Rehnqvist-2019_popartnoter_2.jpg?fit=1200%2C774&ssl=1&resize=1050%2C600 3x"},"classes":[]},{"id":1506,"url":"https:\/\/karin-rehnqvist.se\/eng\/in-orbit\/","url_meta":{"origin":1127,"position":2},"title":"IN ORBIT","author":"admin2","date":"November 5, 2017","format":false,"excerpt":"IN ORBIT \u2013 a moving quartet (2017) for violin, clarinet, cello and piano Like planets wheeling through the sky, this music spins across the stage. It traverses space, opening expanses where notes and melodies can resonate. The folk tradition grounds its scales, tunes, and techniques. The piano appears as a\u2026","rel":"","context":"In "Programme notes"","block_context":{"text":"Programme notes","link":"https:\/\/karin-rehnqvist.se\/eng\/category\/programme-notes\/"},"img":{"alt_text":"","src":"","width":0,"height":0},"classes":[]},{"id":1093,"url":"https:\/\/karin-rehnqvist.se\/eng\/ice-music-fantasy\/","url_meta":{"origin":1127,"position":3},"title":"ICE MUSIC FANTASY","author":"admin2","date":"January 28, 2016","format":false,"excerpt":"New music for new instruments \u00a0 To compose for instruments of ice requires a large dose of intuition and a pinch of craziness. How will these instruments possibly sound? One has to guess: most likely softer och probably not so expressive as a traditional instrument. The lowest register of cello\u2026","rel":"","context":"In "Programme notes"","block_context":{"text":"Programme notes","link":"https:\/\/karin-rehnqvist.se\/eng\/category\/programme-notes\/"},"img":{"alt_text":"","src":"","width":0,"height":0},"classes":[]},{"id":1015,"url":"https:\/\/karin-rehnqvist.se\/eng\/chamber-music-voicevoices\/","url_meta":{"origin":1127,"position":4},"title":"Chamber music & voice\/voices","author":"admin2","date":"January 25, 2016","format":false,"excerpt":"THE DREAM (2022) for Mezzo-soprano\/ Alto and Cello 12\u2019 Text Rosa Taikon Dedicated to Unni L\u00f8vlid and Marianne Baudouin Lie Svensk Musik Programme note \u00a0| \u00a0Score sample SONGS BETWEEN LIGHT AND DARKNESS \u00a0(2021) \u2013 for two reciters, soprano, alto saxophone, clarinet in Bb (also b.cl) and piano. 16' Text: Gunnar\u2026","rel":"","context":"In "Chamber music & voice"","block_context":{"text":"Chamber music & voice","link":"https:\/\/karin-rehnqvist.se\/eng\/category\/complete-worklist\/chamber-music-voice\/"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/karin-rehnqvist.se\/eng\/wp-content\/uploads\/2015\/06\/KR-noter_chamber-voice.jpg?fit=900%2C659&ssl=1&resize=350%2C200","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/karin-rehnqvist.se\/eng\/wp-content\/uploads\/2015\/06\/KR-noter_chamber-voice.jpg?fit=900%2C659&ssl=1&resize=350%2C200 1x, https:\/\/i0.wp.com\/karin-rehnqvist.se\/eng\/wp-content\/uploads\/2015\/06\/KR-noter_chamber-voice.jpg?fit=900%2C659&ssl=1&resize=525%2C300 1.5x, https:\/\/i0.wp.com\/karin-rehnqvist.se\/eng\/wp-content\/uploads\/2015\/06\/KR-noter_chamber-voice.jpg?fit=900%2C659&ssl=1&resize=700%2C400 2x"},"classes":[]},{"id":1068,"url":"https:\/\/karin-rehnqvist.se\/eng\/avocation-utrop\/","url_meta":{"origin":1127,"position":5},"title":"AVOCATION (UTROP)","author":"admin2","date":"January 27, 2016","format":false,"excerpt":"for chamber ensemble \u00a0 is \u2013 a melody that journeys among instruments. Articulated note by note, slowly it moves forward, is fragmented and stretched taut, like the string of a bow. \u2013 an unexpected interruption to the melody: a fall. The harp and the trombone begin the descent, leading us\u2026","rel":"","context":"In "Programme notes"","block_context":{"text":"Programme notes","link":"https:\/\/karin-rehnqvist.se\/eng\/category\/programme-notes\/"},"img":{"alt_text":"","src":"","width":0,"height":0},"classes":[]}],"_links":{"self":[{"href":"https:\/\/karin-rehnqvist.se\/eng\/wp-json\/wp\/v2\/posts\/1127","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/karin-rehnqvist.se\/eng\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/karin-rehnqvist.se\/eng\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/karin-rehnqvist.se\/eng\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/karin-rehnqvist.se\/eng\/wp-json\/wp\/v2\/comments?post=1127"}],"version-history":[{"count":6,"href":"https:\/\/karin-rehnqvist.se\/eng\/wp-json\/wp\/v2\/posts\/1127\/revisions"}],"predecessor-version":[{"id":1592,"href":"https:\/\/karin-rehnqvist.se\/eng\/wp-json\/wp\/v2\/posts\/1127\/revisions\/1592"}],"wp:attachment":[{"href":"https:\/\/karin-rehnqvist.se\/eng\/wp-json\/wp\/v2\/media?parent=1127"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/karin-rehnqvist.se\/eng\/wp-json\/wp\/v2\/categories?post=1127"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/karin-rehnqvist.se\/eng\/wp-json\/wp\/v2\/tags?post=1127"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}} |