Mark Andre: ...auf...-Triptych for Large Orchestra
|Price:||£15.49 & FREE UK Delivery on orders dispatched by Amazon over £20. Delivery Details|
AutoRip is available only for eligible CDs and vinyl sold by Amazon EU Sarl (but does not apply to gift orders or PrimeNow orders). See Terms and Conditions for full details, including costs which may apply for the MP3 version in case of order returns or cancellations.
- Choose from over 13,000 locations across the UK
- Prime members get unlimited deliveries at no additional cost
- Find your preferred location and add it to your address book
- Dispatch to this address when you check out
With the purchase of a CD or Vinyl record dispatched from and sold by Amazon, you get 90 days free access to the Amazon Music Unlimited Individual plan. After your purchase, you will receive an email with further information. Terms and Conditions apply. Learn more.
Customers who bought this item also bought
Mark Andre s compositions '...auf...' [...on...] are three independent orchestral pieces. Taken together, they can be heard as a cycle or as a triptych, like a three-part altarpiece. Though they are related, each work begins again the search for new resonances and means for transitions between sounds. ...auf...1 begins with a sustained and spherical sound of the strings. Later the band of sound is invaded by short impulses of the other instruments: the harps play with plectrums while the cellists and double-bass players briefly tap with their fingertips on the resonating bodies of their instruments, the trumpets whistle, and the horn players tap on their mutes with the palms of their hands. Two essential elements of the piece are a short, impulsive attack of a sound, on the one hand, and its resounding and fading away over a long period of time, on the other hand. In ...auf...2 at first two pianos present a dialogue of short events rich in accents and colours before the other orchestral instruments join in. Harmonious, inharmonious, and noise-like sounds are juxtaposed to each other. Compared to ...auf...1 , the orchestral instruments in this piece move even more strongly into strange sometimes metallic and technical, sometimes surreal spheres of sound. Here too, the sonorities coalesce into short impulses and long bands of sound. For the orchestral layout of ...auf...3 the percussion section is expanded to six players positioned around the audience; in addition, a sampler keyboard is supposed to be on the stage as well as live electronics with loudspeakers surrounding the audience. The live electronics follow a precise plan as to when which sounds of the orchestra are to be reproduced additionally from which loudspeaker. A special program for electronic sound transformation permits the so-called convolution of two different input signals: this makes it possible to connect the attack of one instrument with the resonance of another. A drumbeat can for example produce the resonance of a piano, or a string pizzicato can become a sustained flute sound. In the course of composing ...auf...3 the use and implementation of this still-quite-young process was pioneering work for the participating sound engineers and the composer.
Most helpful customer reviews on Amazon.com
triptych for large orchestra (51:41)
...auf... 1 for orchestra (2005/06 -- 14:57) ***
...auf... 2 for orchestra (2007 -- 16:14) ****
...auf... 3 for orchestra and live electronics (2007 -- 20:30) *****
SWR Sinfonieorchester Baden-Baden und Freiburg
Experimentalstudio des SWR
Sylvain Cambreling, conductor
Recorded live in 2009 in Berlin, Brussels, and Paris
I was quite excited to see this Wergo disc, because I had heard the recording of the premiere of "...auf... III" at the Donaueschingen Musiktage in 2007 (see my review), which I consider to be one of the finest electro-acoustic works of recent years. I have to say I am disappointed that the first two, entirely acoustic, parts of the triptych are not quite as impressive. Listened to together, the first piece sounds tentative, the second piece more assertive and engaging, and then the electro-acoustic finale veritably blows the roof off. The musicians of the SWR Sinfonieorchester, the "house band" of the Donaueschingen Festival, voted to award Mark Andre the Orchestra Prize in 2007.
The entire triptych was not performed until 2009, when it was taken on the road to Berlin, Brussels, and Paris. The liner notes do not specify which of the three performances we hear. Comparing the two recordings back-to-back, the original 2007 recording of "...auf... III" sounds better to me, with greater vividness and dynamic range.
Andre gives his definition of "auf" in the liner notes of the DM 2007 disc: "In German, the preposition 'auf'' refers to the threshold, and hence the inner forms of a transition ... My piece deals with the threshold between spaces and families of sounds, a threshold that also has an existential and metaphysical level. The metaphysical model for this composition was the resurrection of Christ, which (for any of those who do believe) describes the most powerful and wondrous transition ever between differing states."
Continuing to draw on the composer's notes for the DM 2007 disc, which are more illuminating than Lydia Jeschke's notes for Wergo, we learn that "[w]hereas the pitch classes in ...auf... III were organised according to algorithms, it is the formation of distinct families of sound and sonic spaces that impart an important structural influence on the work. A dialectical relationship emerges between these two organisational, i.e. formal, constraints. In order that inner worlds of sound can be generated, the algorithmic system is immediately broken up and strongly fragmented. Three groups of musical material are subject to this fragmentation: non-harmonic, harmonic, and noise-like sounds." Andre goes on to say that the composition describes an arc through the families of sound, interpolated and incorporated into one another.
"...auf... III" uses an innovation in electronic sound created by Andre with the Experimentalstudio des SWR which he calls "convolution," which allows the sonic impulses of one instrument to be clothed in the timbre of other instruments as they decay and resonate. So, for instance, a drumbeat can produce the resonance of a piano, or a string pizzicato can become a sustained flute sound.
The basic structure of "...auf... I" contrasts short, impulsive attacks with the sustained decay of sounds over time. Offering the listener no familiar points of reference it tests patience. The most dramatic passage comes near the center of the piece with an extended feature for bells. "...auf... II" is substantially more engaging, beginning with two pianos playing slowly and then gradually joined by other instruments, for the most part difficult to identify, with timbres sometimes metallic, forming surreal spheres of sound.
*** *** ***
Helmut Lachenmann is a huge influence on German/Austrian neuemusik, but French-born Mark Andre (b. 1964) is perhaps his most tenaciously committed follower. Andre studied first with Grisey in Paris before seeking out Lachenmann in Germany, and so incorporates both spectralism's minute focus on tones and Lachenmann's "musique concrete instrumentale." For Andre, the music is deeply symbolic, and seemingly all his titles are taken from the Christian scriptures, though obliquely in tiny unrecognizable quotes.
As Martina Seeber says in the liner notes to Andre's 2008 Kairos disc, "[i]t takes nothing more than a look at the scores to understand that the familiar system of coordinates comprised of pitch and duration describes only a small part of the space in which the music of Mark Andre moves and has its being. He defines even the positioning of the bow on the string so exactly in each moment of his composition that its notation requires a system of its own... His compositions are preceded by thorough, almost scientific analysis of the instruments he uses. He listens to the results but also examines and categorizes them using computer-supported frequency analysis. The resulting scales are usually in micro-gradations."