Programmatoelichting 'Dubbelspoor'

Item

name: nl Programmatoelichting 'Dubbelspoor'
headline: en Program notes 'Dubbelspoor'; nl Programmatoelichting 'Dubbelspoor'
creator: Louis Andriessen
articleBody: en Duration: 14' For: piano, harpsichord, glockenspiel, celesta Commissioned by Stichting Dansproduktie LOUIS ANDRIESSEN DUBBELSPOOR (DOUBLE TRACK) (1986) For: piano, harpsichord, glockenspiel, celesta Commissioned by Stichting Dansproduktie Dubbelspoor was originally written as an hour-long dance piece, choreographed by Beppie Blankert, with spoken texts by Samuel Beckett from Texts for Nothing. In the original production, the audience sits facing a mirror in which they see the reflection of a dancer. This dancer performs on a stage behind the audience and is soon joined by a second dancer, also visible in the mirror but not on the same platform. Gradually, the audience’s perception of space alters as they realize that this second dancer is performing on the other side of the mirror, which also functions as a window. The music itself revolves around mirroring. A harpsichord solo is presented, doubled (mirrored) and extended by the piano, then again doubled by glockenspiel and celesta. The piece frequently uses ‘shadow melodies’, where certain notes become more distinct when a neighboring note drops away. Dubbelspoor was revised as a concert piece in 1994. Louis Andriessen (translation MG)\n Louis Andriessen Music for Dubbelspoor The music for Dubbelspoor uses the idea of ‘mirroring’ in three ways. First, in terms of sound. Only hammered instruments with reverb are used. The harpsichord in particular has a ‘glassy’ sound: hard, unnuanced and with a rich spectrum of shimmering, brilliant overtones. Second, in structure. The same harpsichord solo is heard three times. The second time, the harpsichord is doubled by the piano. The third time, harpsichord and piano are doubled again by celesta and glockenspiel, each with a slight distortion in timbre and timing. Third, in the notes themselves. I use a structural element I call a ‘shadow melody’: a melody that emerges by omitting notes according to a fixed rhythm. The remaining notes form a kind of shadow of the actual melody—not played, but still heard. Although there is a musical acceleration in the piece, the entire work is written in a fixed tempo. The slow, regular motion at the beginning is a metaphor for ‘waiting’. Louis Andriessen (translation MG)\nLOUIS ANDRIESSEN\nDUBBELSPOOR (DOUBLE TRACK) (1986)\nFor: piano, harpsichord, glockenspiel, celesta\nCommissioned by Stichting Dansproduktie Dubbelspoor was originally written as an hour-long dance piece, choreographed by Beppie Blankert, with spoken texts by Samuel Beckett from Texts for Nothing. In the original production, the audience sits facing a mirror in which they see the reflection of a dancer. This dancer performs on a stage behind the audience and is soon joined by a second dancer, also visible in the mirror but not on the same platform. Gradually, the audience’s perception of space alters as they realize that this second dancer is performing on the other side of the mirror, which also functions as a window. The music itself revolves around mirroring. A harpsichord solo is presented, doubled (mirrored) and extended by the piano, then again doubled by glockenspiel and celesta. The piece frequently uses ‘shadow melodies’, where certain notes become more distinct when a neighboring note drops away. Dubbelspoor was revised as a concert piece in 1994. Louis Andriessen (translation MG)\n Louis Andriessen Music for Dubbelspoor The music for Dubbelspoor uses the idea of ‘mirroring’ in three ways. First, in terms of sound. Only hammered instruments with reverb are used. The harpsichord in particular has a ‘glassy’ sound: hard, unnuanced and with a rich spectrum of shimmering, brilliant overtones. Second, in structure. The same harpsichord solo is heard three times. The second time, the harpsichord is doubled by the piano. The third time, harpsichord and piano are doubled again by celesta and glockenspiel, each with a slight distortion in timbre and timing. Third, in the notes themselves. I use a structural element I call a ‘shadow melody’: a melody that emerges by omitting notes according to a fixed rhythm. The remaining notes form a kind of shadow of the actual melody—not played, but still heard. Although there is a musical acceleration in the piece, the entire work is written in a fixed tempo. The slow, regular motion at the beginning is a metaphor for ‘waiting’. Louis Andriessen (translation MG)\nDubbelspoor was originally written as an hour-long dance piece, choreographed by Beppie Blankert, and involving spoken texts by Samuel Beckett Texts for Nothing. In the original performance the audience is seated in front of a mirror in which they can see the reflection of a dancer. This dancer performs on a stage behind the audience and is soon joined by a second dancer, also visible in the mirror but not on the same platform. Gradually the perception of the space alters as the audience realises that this second dancer is performing on the other side of the mirror, which is also functioning as a window: “the music is about mirroring”. A harpsichord solo is presented, doubled (mirrored) and extended by the piano, then again doubled by glockenspiel and celesta. Regular use is made of “shadow melodies”, where some notes sound more clearly because a nearby note drops away. Dubbelspoor was revised as a concert piece in 1994. Louis Andriessen Music Double Track The music for Dubbelspoor uses ‘mirroring’ in three ways. Firstly, in the sound. Only hammered instruments with reverb are used. The harpsichord in particular has a ‘glassy’ sound: hard, unsubtle and with a rich range of shiny, brilliant overtones. Secondly, in the construction of the large form: one hears the same piece for harpsichord solo three times, but the second time the harpsichord is doubled by the piano and the third time the harpsichord and piano are doubled again by celesta and chimes, in both cases with a slight distortion in sound image and time. Thirdly, a structural element is used in the notes themselves that I call ‘shadow melody’: a melody becomes audible by omitting notes according to a certain rhythm. The remaining notes form a kind of shadow of the real played melody: not played, but heard. Although there is a musical acceleration in the piece, the whole is written in a fixed tempo. The slow regular movement of the beginning is a metaphor for 'waiting'. Louis Andriessen\n; nl For: piano, harpsichord, glockenspiel, celesta\nCommissioned by Stichting Dansproduktie\nDubbelspoor is oorspronkelijk geschreven als een dansstuk van een uur, gechoreografeerd door Beppie Blankert, met gesproken teksten van Samuel Beckett uit Texts for Nothing. In de oorspronkelijke voorstelling zit het publiek voor een spiegel waarin het de reflectie van een danser ziet. Deze danser bevindt zich op een podium achter het publiek en krijgt al snel gezelschap van een tweede danser, ook zichtbaar in de spiegel maar niet op hetzelfde podium. Geleidelijk aan verandert de perceptie van de ruimte als het publiek zich realiseert dat deze tweede danser optreedt aan de andere kant van de spiegel, die ook als raam fungeert. De muziek gaat over spiegelen. Er is een klavecimbelsolo, verdubbeld (gespiegeld) en uitgebreid door de piano, dan weer verdubbeld door glockenspiel en celesta. Er wordt regelmatig gebruik gemaakt van ‘schaduwmelodieën’, waarbij sommige noten duidelijker klinken omdat een naburige noot wegvalt. \nMuziek Dubbelspoor De muziek voor Dubbelspoor maakt op drie manieren gebruik van ‘spiegeling’. Ten eerste in de klank. Er wordt alleen gebruik gemaakt van gehamerde instrumenten met nagalm. Vooral het klavecimbel heeft een ‘glazen’ klank: hard, ongenuanceerd en met een rijk scala aan glanzende, schitterende boventonen. Ten tweede in de opbouw van de grote vorm: men hoort drie maal hetzelfde stuk voor klavecimbel solo, maar de tweede maal wordt het klavecimbel gedubbeld door de piano en de derde maal worden klavecimbel en piano nog eens gedubbeld door celesta en klokkenspel, in beide gevallen met een lichte vertekening in klankbeeld en tijd. Ten derde wordt er in de noten zelf gebruik gemaakt van een structureel element dat ik ‘schaduwmelodie’ noem: een melodie wordt hoorbaar door volgens een bepaald ritme noten weg te laten. De overblijvende noten vormen zich tot een soort schaduw van de echte gespeelde melodie: niet gespeeld, maar wel gehoord. Hoewel er een muzikale versnelling in het stuk plaatsvindt, is het geheel in een vaststaand tempo geschreven. De langzame regelmatige beweging van het begin is een metafoor van het ‘wachten’. Louis Andriessen
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Identifier: ark:/23946/bAoYPg

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