London, Royal Albert Hall Proms 2003
Identifieur interne : 000675 ( Main/Exploration ); précédent : 000674; suivant : 000676London, Royal Albert Hall Proms 2003
Auteurs : Martin AndersonSource :
- Tempo [ 0040-2982 ] ; 2004-01.
Abstract
Until the world première of Joe Duddell's Ruby on 25 July, I had yet to hear a percussion concerto which didn't trip itself up. I thought it was in the nature of the beast: the orchestra develops some material, which is then passed to the percussion, at which point all development perforce stops. Duddell (b. 1972) solved the problem by turning it on its head, and limiting the orchestral material to what the solo percussionist could handle; the downside is that he necessarily limits the expressive scope of the orchestra. Ruby – the title is simply a rhyming-slang working label that stuck: it's the final part of a trilogy of works written for the percussionist Colin Currie – opens with a vibraphone pattern that suggests a lyrical music-box and soon shows a stylistic affinity with American minimalism, which alternates with slabs of good-natured energy. The slow movement begins with tremolo marimba chords over string lines that drift aimlessly and agreeably, with a more active central section spurred by brief brass figures which trigger rising scalic patterns in the vibraphone. The initial material returns with soft-centred strings above hypnotic vibraphone figuration and is sung to a close by the rapturous sound of bowed vibraphone chords. The finale likewise deals in cheerfully mesmeric vibraphone patterns over a wash of strings and stuttering comment from horns and trumpets; the soloist then offers an improvised toccata on drum-kit backed by forceful rhythms from a near-tutti orchestra. The vibraphone resumes its jolly prattle until, seemingly having run out of things to say, the music just stops dead. Currie, supported by the Bournemouth Symphony Orchestra under the functional Marin Alsop, played it with obvious commitment, and from memory – no small achievement in such motoric music.
Url:
DOI: 10.1017/S0040298204240050
Affiliations:
Links toward previous steps (curation, corpus...)
- to stream Istex, to step Corpus: 001409
- to stream Istex, to step Curation: 001408
- to stream Istex, to step Checkpoint: 000616
- to stream Main, to step Merge: 000676
- to stream Main, to step Curation: 000675
Le document en format XML
<record><TEI wicri:istexFullTextTei="biblStruct"><teiHeader><fileDesc><titleStmt><title>London, Royal Albert Hall Proms 2003</title><author><name sortKey="Anderson, Martin" sort="Anderson, Martin" uniqKey="Anderson M" first="Martin" last="Anderson">Martin Anderson</name></author></titleStmt><publicationStmt><idno type="wicri:source">ISTEX</idno><idno type="RBID">ISTEX:045B6FD0E6ED2939696DFCAEB66C281735A7F3C4</idno><date when="2004" year="2004">2004</date><idno type="doi">10.1017/S0040298204240050</idno><idno type="url">https://api.istex.fr/document/045B6FD0E6ED2939696DFCAEB66C281735A7F3C4/fulltext/pdf</idno><idno type="wicri:Area/Istex/Corpus">001409</idno><idno type="wicri:explorRef" wicri:stream="Istex" wicri:step="Corpus" wicri:corpus="ISTEX">001409</idno><idno type="wicri:Area/Istex/Curation">001408</idno><idno type="wicri:Area/Istex/Checkpoint">000616</idno><idno type="wicri:explorRef" wicri:stream="Istex" wicri:step="Checkpoint">000616</idno><idno type="wicri:doubleKey">0040-2982:2004:Anderson M:london:royal:albert</idno><idno type="wicri:Area/Main/Merge">000676</idno><idno type="wicri:Area/Main/Curation">000675</idno><idno type="wicri:Area/Main/Exploration">000675</idno></publicationStmt><sourceDesc><biblStruct><analytic><title level="a">London, Royal Albert Hall Proms 2003</title><author><name sortKey="Anderson, Martin" sort="Anderson, Martin" uniqKey="Anderson M" first="Martin" last="Anderson">Martin Anderson</name></author></analytic><monogr></monogr><series><title level="j">Tempo</title><idno type="ISSN">0040-2982</idno><idno type="eISSN">1478-2286</idno><imprint><publisher>Cambridge University Press</publisher><pubPlace>Cambridge, UK</pubPlace><date type="published" when="2004-01">2004-01</date><biblScope unit="volume">58</biblScope><biblScope unit="issue">227</biblScope><biblScope unit="page" from="55">55</biblScope><biblScope unit="page" to="59">59</biblScope></imprint><idno type="ISSN">0040-2982</idno></series></biblStruct></sourceDesc><seriesStmt><idno type="ISSN">0040-2982</idno></seriesStmt></fileDesc><profileDesc><textClass></textClass><langUsage><language ident="en">en</language></langUsage></profileDesc></teiHeader><front><div type="abstract">Until the world première of Joe Duddell's Ruby on 25 July, I had yet to hear a percussion concerto which didn't trip itself up. I thought it was in the nature of the beast: the orchestra develops some material, which is then passed to the percussion, at which point all development perforce stops. Duddell (b. 1972) solved the problem by turning it on its head, and limiting the orchestral material to what the solo percussionist could handle; the downside is that he necessarily limits the expressive scope of the orchestra. Ruby – the title is simply a rhyming-slang working label that stuck: it's the final part of a trilogy of works written for the percussionist Colin Currie – opens with a vibraphone pattern that suggests a lyrical music-box and soon shows a stylistic affinity with American minimalism, which alternates with slabs of good-natured energy. The slow movement begins with tremolo marimba chords over string lines that drift aimlessly and agreeably, with a more active central section spurred by brief brass figures which trigger rising scalic patterns in the vibraphone. The initial material returns with soft-centred strings above hypnotic vibraphone figuration and is sung to a close by the rapturous sound of bowed vibraphone chords. The finale likewise deals in cheerfully mesmeric vibraphone patterns over a wash of strings and stuttering comment from horns and trumpets; the soloist then offers an improvised toccata on drum-kit backed by forceful rhythms from a near-tutti orchestra. The vibraphone resumes its jolly prattle until, seemingly having run out of things to say, the music just stops dead. Currie, supported by the Bournemouth Symphony Orchestra under the functional Marin Alsop, played it with obvious commitment, and from memory – no small achievement in such motoric music.</div></front></TEI><affiliations><list></list><tree><noCountry><name sortKey="Anderson, Martin" sort="Anderson, Martin" uniqKey="Anderson M" first="Martin" last="Anderson">Martin Anderson</name></noCountry></tree></affiliations></record>Pour manipuler ce document sous Unix (Dilib)
EXPLOR_STEP=$WICRI_ROOT/Wicri/Musique/explor/DebussyV1/Data/Main/Exploration
HfdSelect -h $EXPLOR_STEP/biblio.hfd -nk 000675 | SxmlIndent | more
Ou
HfdSelect -h $EXPLOR_AREA/Data/Main/Exploration/biblio.hfd -nk 000675 | SxmlIndent | more
Pour mettre un lien sur cette page dans le réseau Wicri
{{Explor lien
|wiki= Wicri/Musique
|area= DebussyV1
|flux= Main
|étape= Exploration
|type= RBID
|clé= ISTEX:045B6FD0E6ED2939696DFCAEB66C281735A7F3C4
|texte= London, Royal Albert Hall Proms 2003
}}
| This area was generated with Dilib version V0.6.33. |  |