lvbeet op130.133 dec.com
For String Quartet and live electronics. Score
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This work is conceived as a de-construction ( as the French pholosopher J. Derrida defined it) of a famous score by Beethoven: the String Quartet op.130, including the Grosse Fugue, as its legitimate Finale.For this, the author used several procedures taken from electroacoustics and musical informatics, together with techniques found in generative grammars, particularly those free-of-context grammars (Chomsky sensu).With these complex tools he forged a series of sound organisms, from micro up to macro size(s).The entire score is a continuous series of transformations of different (micro)struct...
This work is conceived as a de-construction ( as the French pholosopher J. Derrida defined it) of a famous score by Beethoven: the String Quartet op.130, including the Grosse Fugue, as its legitimate Finale.For this, the author used several procedures taken from electroacoustics and musical informatics, together with techniques found in generative grammars, particularly those free-of-context grammars (Chomsky sensu).With these complex tools he forged a series of sound organisms, from micro up to macro size(s).The entire score is a continuous series of transformations of different (micro)structures in Beethoven's music, that become the new sound organisms,mentioned above.The main aim of the present work is to avoid, in a radical manner, the teleological traditional rhetoric of the classical music, but permanently emerging from this rhetoric.
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