DUSAPIN ETUDES PDF

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I am therefore grateful to pianist Ian Pace, who played two of them there, for permission to reprint excerpts from his most recent writing about Dusapin from the Strasbourg programme book. This new CD of his three works for mixed choir the first two a cappella, the third with seven wind instruments may be a way in, and is beginning to work its spell. The music is mainly slow but tonally seductive. Overall moods seem more important to Dusapin than specific word setting. But I find this more subtle and it works its way by stealth, making you listen again and again to try to capture it. The tempi are slow, dynamics mainly quiet, and harmony is all important.

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I am therefore grateful to pianist Ian Pace, who played two of them there, for permission to reprint excerpts from his most recent writing about Dusapin from the Strasbourg programme book.

This new CD of his three works for mixed choir the first two a cappella, the third with seven wind instruments may be a way in, and is beginning to work its spell.

The music is mainly slow but tonally seductive. Overall moods seem more important to Dusapin than specific word setting. But I find this more subtle and it works its way by stealth, making you listen again and again to try to capture it. The tempi are slow, dynamics mainly quiet, and harmony is all important.

The brief Umbrae Mortis introduces whispering and quarter-note dissonances. The part-writing is more complex and broken up, with a variety of tempo that distinguishes it from the other works here.

It is difficult music to perform and to digest as a listener and I readily accept the assurance given to us that these musicians have achieved their task with precision and sensitivity. The recording sounds fine. The photo of Dusapin is shadowy and blurred, and the text may require a magnifying glass. It would be presumptuous for me to award a single star score, but this is a CD for the curious to explore. His music has a penetrating, searing individuality that is utterly unassimilable within stylistic categories.

An interest in the visceral excitement that can be generated by instrumental virtuosity is often present, as is the influence of jazz. But more important is his interest in searching for new types of structural approach; his structures might better be called narratives, for even in the non-operatic or programmatic works, one can sometimes sense some underlying pyschological trajectory or ideological conception.

He is a pragmatic composer who composes works in response to particular circumstances and players. From Xenakis, Dusapin derived an understanding of the architecture of sound-masses and an interest in mythological subjects. The fixed temperament and sheer range of overtones present even when only a few notes are struck forces a more acute attention to harmony and tonal implications than if writing for other instruments.

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Pascal Dusapin

AmazonGlobal Ship Orders Internationally. Until recently, Dusapin also rejected the use of keyboard instruments, despite the fact that he plays the organ [10] and jazz piano. He avoids repetition and rejects stability and redundancy in music, which is yet another distinguishing feature of his music. His music is marked by its microtonality, tension, and energy. Since no one was offering me commissions to produce longer symphonic forms I decided to bide my time. From Wikipedia, the free encyclopedia.

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Pascal Dusapin: Etudes pour Piano [2CD+Book]

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