Murail is associated with the movement, or aesthetic, or group, or set of techniques, known as spectral composition. This piece is an homage to Murail’s teacher, Messiaen, who wrote a piano prelude called Cloches d’angoisse et larmes d’adieu; it’s the most ambitious of the eight Preludes. The evocation of bells in Murail’s piece is done in several ways: with clanging chords that play changes on simple harmonies; and with repeated drone bass tones, first g and then b.
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