To you, Boulez's 6th notation may sound like a slurry of notes. To me, it actually kind of does. Despite the fact that the left hand is playing exactly what the right hand does, just two notes displaced (and from the middle, playing a mirrored version), it still sounds like chaos. How is that something written down on paper has so much order, but sounds absolutely nothing like order?
While we ponder this question, it's good to have some images in mind. When I was practicing this, it felt like v
Viewer discretion advised: contains gore (not really).
Boulez's second notation fits snuggly in 20 seconds. But within this 20 seconds are 4 glissandi and a hand crossing dance of rhythms. Can you tell if all the glissandi went in the same direction or in different directions?
To any pianist attempting this any time soon, keep your skin moisturized and lubricate them for the slides!
If you had only 12 bars to write music, what would you write? Pierre Boulez started off his 12 Notations with this one, titled 'Fantasque', an imaginary caprice. It starts off with a question and ends with the exact same question, but on the lowest register of the piano, making it sound more like a grumble than a something asked. See if you can hear the answers to the first question that we hear.
Last Wednesday, it was the composition class's turn to present what they have been doing for the past academic year (me included). This time, we were blessed with wonderful performances and an equally wonderful audience, who never let a single cough out through the entire albeit short concert!
I'm excited to announce that another semester of work is now bearing fruit. Three of my works, along with others by my colleagues, will be performed next Wednesday (16th May) in the Musikakademie Kassel. The entrance is free.
Next week, on the 9th of May, I will be playing a charity concert with Sabine Wackernagel. Taking place in the main hall of where I study (Musikakademie Stadt Kassel), there will be works by Julia Wolfe, Kareem Roustom and Mel Bonis.