Артур Кампела (Arthur Kampela) - Nosturnos -1 | Текст песни

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• Артур Кампела (Arthur Kampela)
• Nosturnos -1

Nosturnos for solo piano (1992, rev. 2003)
Jenny Lin, piano

\"The title Nosturnos is a conjugation of two meanings: 'nocturne' (as in Chopin), a specific musical form related to night, and a Portuguese word that indicates changes or shifts. These changes are seen as sudden shifts of music's historic styles and techniques. Voices always present in our imagination (because they embody the status of true sonic archetypes), reemerge constantly as they friction throughout the piece's continuum. Sounds 'like' Villa-Lobos, Scriabin, Beethoven, Bartók, Messiaen, jazz, Ligeti, Nancarrow, Ferneyhough, Babbitt, etc., can be heard, being at the same time a 'far echo' of the original model.

\"The most important compositional aspect of this piece, thus, has to do with the way I hear and/or reinterpret the styles and techniques of previous and contemporary generations of composers. The piece doesn't intend to imitate or create a parody of those styles, but to envelop their process with my own idiosyncratic perception. The 'imitation' process yields to the idea of distortion, which is ultimately the way we apprehend or hear a specific piece or style(s) of music. The 'styles' appear isolated from their historical context and become a field of color or a timbristic pattern. They are not functional, in the sense that a harmonic progression is functional, resolving through voice leading connections. They are disembodied acoustical 'accretions' or 'leftovers' of musical objects collected from diverse stages of music's history that are now recognized as cultural carcass, hollow aggregates of 'found objects' each with its own timbristic aura.

\"The coherence of the whole comes, in my view, from submitting all the sonic diversity of the piece to similar principles of organization. Here, the perception of contrasting musical worlds, gestures and techniques make themselves 'acutely visible/audible' only at the moment they disappear, by stylistic contrast. The concept of 'timbral modulation' comes to signify, in this context, the cognitive equivalent of modulation in tonal music. The stylistic density establishes neither a modulatory scheme, basically tonal, nor microstructural, as in twelve-tone music. Rather, they are entropic -- out of their specific functional context they lose identity and become mere color, but of differing hues. [...]\"

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