Christian Mason
Learning Self-Modulation
for Violin and Piano
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Christian Mason
Learning Self-Modulation
for Violin and Piano
- Instrumentation Violin and Piano
- Composer Christian Mason
- Edition Piano Score and Part(s)
- Publisher Breitkopf & Härtel KG
- Order no. EB9237
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Description:
World premiere: Paris/France, Musée du Louvre, October 14, 2011
In Learning Self-Modulation, two musicians take us on a journey of transformation and change of perspective. Instead of remaining in opposition to each other, violin and piano are perceived as intertwined facets of the same identity - the shifting balance of their energies forms the musical drama of this piece. Of course, the differences between them as instruments could hardly be greater - one so small and the other so large, not to mention their different playing styles and sound qualities. Through their diverse interactions and striving for unity, the music moves through many states of being towards integration and tranquillity. Despite the changes in character and energy that we can perceive, the musical materials are of the same substance, and at least the harmonic level gives the piece an underlying unity with hints of modality and tonality gradually emerging from the original chromaticism.
Poetically speaking, there is an evolution from the wild, electrifying "stormy night" to a contemplative "place of light". This journey is marked by the headings of the six movements taken from the following poem:
1. dancing through the thunderous night (Tanzend durch die stürmische Nacht)
2. azure flashes falling
3. through suspended mists of white
4 Seeking realms forever bright
5. we hear the timeless calling (Hören wir die zeitlosen Rufe)
6. and here at last, we flow like light
The idea of transformation is also embodied in the progressive detuning of the violin during the first four movements. In the end, this slightly out-of-tune violin is replaced by a completely transformed violin in scordatura, strung with four G strings. When it sounds, we find ourselves in a new world ...
Learning Self-Modulation is dedicated to Carolin Widmann, whose generous and adventurous spirit was an inspiration to me during the composition.
(Christian Mason 2011)
In Learning Self-Modulation, two musicians take us on a journey of transformation and change of perspective. Instead of remaining in opposition to each other, violin and piano are perceived as intertwined facets of the same identity - the shifting balance of their energies forms the musical drama of this piece. Of course, the differences between them as instruments could hardly be greater - one so small and the other so large, not to mention their different playing styles and sound qualities. Through their diverse interactions and striving for unity, the music moves through many states of being towards integration and tranquillity. Despite the changes in character and energy that we can perceive, the musical materials are of the same substance, and at least the harmonic level gives the piece an underlying unity with hints of modality and tonality gradually emerging from the original chromaticism.
Poetically speaking, there is an evolution from the wild, electrifying "stormy night" to a contemplative "place of light". This journey is marked by the headings of the six movements taken from the following poem:
1. dancing through the thunderous night (Tanzend durch die stürmische Nacht)
2. azure flashes falling
3. through suspended mists of white
4 Seeking realms forever bright
5. we hear the timeless calling (Hören wir die zeitlosen Rufe)
6. and here at last, we flow like light
The idea of transformation is also embodied in the progressive detuning of the violin during the first four movements. In the end, this slightly out-of-tune violin is replaced by a completely transformed violin in scordatura, strung with four G strings. When it sounds, we find ourselves in a new world ...
Learning Self-Modulation is dedicated to Carolin Widmann, whose generous and adventurous spirit was an inspiration to me during the composition.
(Christian Mason 2011)