B98FEDC3-0D1F-405D-BAED-9234558AE86A
| ID | B98FEDC3-0D1F-405D-BAED-9234558AE86A |
|---|---|
| Titlecode | X410009 |
| Title Name | Post-Modern Homages, Set I |
| Marketing Copy | While not stricly composed to be performed as a set, each of the three short 'homages' in the collection is both a tribute to, and a substantial transformation of, an existing piece of music and composed for a specific occasion. |
| Instrumentation | Solo Piano |
| Commission | (not set) |
| Dedication | (not set) |
| Program Notes | While these three short piano pieces were not composed to be performed as a set, the circumstances that gave rise to them are similar. Each is both a tribute to, and a substantial transformation of, an existing piece of music. "Sonatina-Fantasia" was composed in honor of George Rochberg's 70th birthday and makes free use of the opening material of his String Quartet No. 1. "Retumbante" was composed as a present for the Brazilian pianist Beatriz Roman. it is based entirely upon the melody of the Brazilian national anthem ('Retumbante' is a prominent word in the text, meaning 'thunderous'), treated in a eccentric but faithfully serial manner. "Template" was the first of the pieces to be written, a commission from the pianist JosÄ Eduardo martins for a work in homage to the Brazilian composer Henrique Oswald (1852-1913). The piece is based in a very direct way on Oswald's "Etude-Scherzo in B-flat minor," constructed as if one were hearing a highly idiosyncratic performance of the etude, played at its stipulated rapid pace, but with only a handful of its many notes actually being sounded. The result is a kind of shadow of the original in which non-harmonic tones become the principal tonal axes, and Oswald's fluid sixteenth-note metric pattern is turned into a hard-edged rhythmic asymmetry. (T achieve its full effect, it is strongly suggested that Oswald's etude be performed immediately after any presentation of "Template"). All in all, then, these are perhaps the most 'constructivist' pieces I have composed, given the use of a twelve-tone row in "Sonatina-Fantasia," the strict serial treatment of a diatonic melody in "Retumbante," and the seeming post-modern 'deconstruction' of Oswald's etude in "Template. --Stephen Hartke |
| Title Brand | 2 |
| Year Composed | 1987 |
| Copyright Number | (not set) |
| Copyright Year | (not set) |
| Duration | 10 |
| Ensemble Size | 1 |
| Date Created | 2008-10-31 20:32:00.000000 |
| Date Updated | 2025-09-30 20:32:00 |
| Inhouse Note | 5 yr term agreement. |
| Bsc Code | (not set) |
| Text Author | (not set) |
| Premier Performance Memo | (not set) |
| Recording Credits | (not set) |
| Review | (not set) |
| Awards | (not set) |
| Title Category | 5 |
| Title Movements | I. Sonatina-Fantasia II. Retumbante III. Template |
| Title Grade | (not set) |
| Set Series ID | (not set) |
| Title Instrument Category Text | Piano |
| Title Sub Category Text | (not set) |
| Title Sub Category | 101 |
| Title Instrument Header | 34 |
| Title Grade Text | (not set) |
| Clean Url | post-modern-homages-set-i-x410009 |