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Written between 2008 and 2013, Enclosures is a treasury of chamber music highlighting Netherlands-based composer Peter Adriaansz's fastidious artistic mind. These works all possess seductive surfaces but their extremely careful designs make for profound, even revelatory experiences. quot;His work is abstract music of a high order, reanimating the medieval idea of music as applied number,quot; wrote the late writer and performer Bob Gilmore, to whose memory this record is dedicated, quot;But the questions it asks are defiantly of the twenty-first century, questions about musical perception, about the nature of sound and the passage of time.quot; quot;Attachmentsquot;, written for pianist Saskia Lankhoorn, carefully explores and exploits different sonic aspects of a specially-prepared piano. Supple rhythmic patterns are back-lit by droning sine tones to create redolent atmospheres, gently flickering and undulating. quot;Phrasequot; and quot;Fractionquot; were composed as companion pieces for the Hague-based Ensemble Klang. The former is nearly hallucinatory in it's singular treatment of a melody on soprano saxophone. The latter - a fervent world of strummed, picked and hammered metal strings - takes after American composer Henry Cowell's harmonic tempo scales, where the music's speed is intertwined with the intervals of the harmony. The record finishes with quot;Enclosuresquot;, composed for Amsterdam microtonal music specialists, Trio Scordatura. Over time, people become attuned to the most subtle gradations of sonic interval - people are deeply immersed and emerge newly sensitized. Peter Adriaansz (pronounced 'pay-ter ah-dree-ons') was born in Seattle in 1966 and studied composition at the conservatories of The Hague and Rotterdam, where his teachers included Louis Andriessen, Brian Ferneyhough and Peter-Jan Wagemans. Adriaansz's work can be characterized by a systematic, research-oriented approach towards music, an approach in which sound, structure and audible mathematics constitute the main ingredients. Starting in 2005, an increasing interest in flexibility, variable forms and - especially - microtonal reflection can also be observed in his work. This latter interest led, among other works, to several large-scale compositions for amplified ensembles. Enclosures
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