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C0 note (16,35 Hz) — vibrating on liquid surface

D0 note (18.35 Hz) — vibrating on liquid surface

C0 note (16,35 Hz) — vibrating on liquid surface

F0 note (21.83 Hz) — vibrating on liquid surface

G0 note (24.50 Hz) — vibrating on liquid surface

A0 note (27.50 Hz) — vibrating on liquid surface

Mrkvička, Luboš: For Piano, Part H 

 

 

Basic information

  • Title: 
    For Piano, Part H
  • Duration (in minutes): 
    8
  • Year of composition: 
    2014
  • First performance (year): 
    2015
  • First performance (venue): 
    Budapest
  • First performance (performers): 
    Gábor Monostori
  • Genre: 
 

Notes

  • Program notes: 

    Luboš Mrkvička - For Piano, Part H

    From the moment I have started composing I felt somehow reluctant to give titles to my compositions. Although there may have been significant differences between the pieces I felt like I have been fundamentally doing the same thing all along. If I have ever been attracted to a composition as a listener I always wanted to know what else the composer has written. And as an enthusiastic rock music listener I have never been among those who have only their favorite albums or even songs that they listen to all the time without listening to the rest of the band's production. I have always appreciated bands and not just songs; I have always appreciated composers and not just pieces – I have always tended to see all music as one thing, as something that in spite of its structural diversity is still the same in its essence.
    As with any true music lover, for whom I think myself, all of these tendencies originated primarily from the immediate and even physical pleasure of the musical detail that, like in a single moment, contains the entire musical experience. Thanks to this feeling of primacy of musical detail I have never quite understood the need to create dramatic forms which is manifested by the fact that the individual movements of the composition must always be presented in the same order in order to achieve the intended dramatic effect. Without any problems I could play the scherzo of a romantic symphony before the first movement or listen to the songs of a concept rock album in altered order without any reduction in the intensity of my musical experience.
    I suppose it was primarily the tension between my need to perceive music as a single phenomenon and that physical pleasure of the musical detail that made me come up with a simple decision about eleven years ago: I will simply label my pieces with ordinal letters. Each piece (letter) will represent the development of a specific musical idea in relation to harmony, dynamics, speed, density, texture, registers... It will stand either alone or in the neighborhood of any number of any other parts, in which case their order will be entirely at the discretion of the performer(s).
    The set of (at this moment fourteen finished) pieces composed for solo piano called For Piano is probably the best example from my entire work that illustrates all these tendencies. (Luboš Mrkvička)

 

 

 

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