Helena Bugallo, Klavier
Amy Williams, Klavier
Tamriko Kordzaia, Klavier
Konzertaufnahme: 27. Mai 2023, Toni Areal, Grosser Saal, Zürcher Hochschule der Künste ZHdK (IGNM Zürich)
Musikregie / Tonmeister: Lars Dölle (SRF)
Some time ago I was invited to revisit an idea that I had used to compose "Jodeln". In that piece the music surged as the result of the interference of the actions of two players on a piano. One player played on the keyboard as usual while the second player lightly touched the strings on various nodes to generate overtones. The music we heard did not coincide with the music that either player played but it was the result of the interaction between them. It was this unheard music that appealed to me now.
"Andere Stimmen" is in part structured around notes from the “overtonesplayer” and rhythmical principles from the “keyboard-player” of "Jodeln". The form of "Andere Stimmen" evolves under different principles though: five sound-materials are developed in a sort of cyclic spirals that at points interfere each other and at particular moments synchronize to magnify quasi exponentially a detail. From the perspective of their sonority the two pieces are rather opposite, while "Jodeln" searches for fine differentiation within the rather homogeneous palette of overtones, "Andere Stimmen" seeks analogies among diverse sounds produced by different playing methods.
Erik Oña
Andere Stimmen. Für Klavier zu 6 Händen (2003/2004)
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Added on 19 April 2024
Credits and thanks
Helena Bugallo, Klavier
Amy Williams, Klavier
Tamriko Kordzaia, Klavier
Konzertaufnahme: 27. Mai 2023, Toni Areal, Grosser Saal, Zürcher Hochschule der Künste ZHdK (IGNM Zürich)
Musikregie / Tonmeister: Lars Dölle (SRF)
Some time ago I was invited to revisit an idea that I had used to compose "Jodeln". In that piece the music surged as the result of the interference of the actions of two players on a piano. One player played on the keyboard as usual while the second player lightly touched the strings on various nodes to generate overtones. The music we heard did not coincide with the music that either player played but it was the result of the interaction between them. It was this unheard music that appealed to me now.
"Andere Stimmen" is in part structured around notes from the “overtonesplayer” and rhythmical principles from the “keyboard-player” of "Jodeln". The form of "Andere Stimmen" evolves under different principles though: five sound-materials are developed in a sort of cyclic spirals that at points interfere each other and at particular moments synchronize to magnify quasi exponentially a detail. From the perspective of their sonority the two pieces are rather opposite, while "Jodeln" searches for fine differentiation within the rather homogeneous palette of overtones, "Andere Stimmen" seeks analogies among diverse sounds produced by different playing methods.
Erik Oña
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