composer
Vanessa Lann was born on April 6, 1968 in New York.
Education: Vanessa Lann has been a composer and pianist since the age of five. She studied composition with Ruth Schonthal ...
related works
24 capriccio's voor viool solo
Genre:
Chamber music
Subgenre:
Violin
Scoring:
vl
Genre:
Chamber music
Subgenre:
Wind and string and key instrument(s); Wood Wind Ensemble and keyboard instrument; Flute and keyboard instrument; Wood Wind Ensemble and keyboard instrument
Scoring:
3fl pf (vc ad lib.) / fl ob cl pf (fg ad lib.)
Galgentrio : for alto saxophone, violoncello and piano, 1997 / Hans Kox
Genre:
Chamber music
Subgenre:
Wind and string and key instrument(s)
Scoring:
sax-a vc pf
The dog named Boo has a master called Lobo : for clarinet, violin and piano, (1972) / Rob du Bois
Genre:
Chamber music
Subgenre:
Wind and string and key instrument(s)
Scoring:
cl vl pf
composition
Objects of ritual : a quintet for flute, clarinet, violin, cello and piano, 2001 / Vanessa Lann
Description:
Program note (English): Objects of Ritual explores the way that a piece of music, as well as an object, can be experienced differently when placed within different contexts. In Objects of Ritual the five performers' individual parts are all playable as separate solo pieces. These solo pieces are named after particular objects and have the fol1owing titles: the flute = The Stone, the clarinet = The Book, the violin = The Mask, the cello = The Bowl, the piano = The Candle. In a concert program the quintet form of Objects of Ritual can be perfomed on its own. During the performance, the listener will be able to distinguish the five 'solo' pieces which are actually being played simultaneously by the separate performers. The solo pieces can also be played by themselves - as a group or on separate programs. Ideally, however, several or all of the solo pieces can be performed in the same concert program as the quintet form of the piece. In this instance, the listener will first hear the music of one
player/object as a solo piece and then, later in the program, in a different way as that 'object' comes into contact with the rest of the performers during the playing of the quintet. The piece illustrates the way we hear, or perform, the same music in various contexts and, therefore, experience it differently. The particular objects named in the solo pieces are each used, at times, for religious, ritual purposes and, at other times, for everyday, practical purposes. This also illustrates how the context of a particular object often defines the way it is perceived. Furthermore, each solo piece in Objects of Ritual refers in some way to what is, perhaps, the most famous, or often-played, work for that instrument. This reference to a standard, or classic, in the repertoire is another way of thinking about what, after many years, becomes 'ritual' in the life of a performer. In Objects of Ritual the ritualistic nature of objects, performance, listening and music is examined from many
angles. - VANESSA LANN