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Schrift-Um-Schrift
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In Wolfgang Rihm’s Schrift-Um-Schrift there is a successive development of discrete musical events and attenuated sounds, transformed into a complex, atrophied space. Filled with echoes and resonances which are in turn multicoloured, glistening and occasionally subdued vibrations and susurrations, it contains many “over-written” pre-events, as Rihm remarks in his commentary on the piece”: “The musical environment out of which the work emerges is a labyrinthine field, a group that is entropic – criss-crossing and rejecting itself as new parts undergo genesis. It is a nature-like process, one not planned.” Béla Bartók treats the pianos as percussion instruments—in their orchestral guise, so to speak—in the sonata, such that together they become a force equal to the striking sounds of the individual percussion instruments. An exceptionally-fine sense of formal proportion, and a masterful balance of chromatic and diatonic material, is notable in this piece.
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ARTISTS
GrauSchumacher Piano Duo; Franz Schindlbeck, Jan Schlichte (percussion) |
TRACKS
WOLFGRANG RIHM: SCHRIFT-UM-SCHRIFT (1993/2007)
BÉLA BARTÓK: SONATA FOR TWO PIANOS AND PERCUSSION (1937) |
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