composer

Lann, Vanessa

General: 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 ...

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composition

The flames of quietude : (a concerto for orchestra), 2006 / Vanessa Lann

Publisher: Amsterdam: Donemus, cop. 2006
Publisher's number: 11293
Genre: Orchestra
Subgenre: Orchestra
Instruments: pic 2fl 3ob 2cl cl-b 3fg 4h 3trp 3trb tb timp 3perc hp pf str(14.12.10.8.6.)
Remarks: Geschreven voor het Residentie Orkest. - Met financiële steun van het Fonds voor de Scheppende Toonkunst. - Met voorw. - Tijdsduur: 21'
Duration: 21'00"
Status: fully digitized (real-time delivery)

Description:
Program note (English): This work places recognizable patterns in alternative contexts. It questions the way we notice recurring elements in music, as well as in our daily lives. Do we experience, for instance, a musical gesture the same way it occurs as we are seated or standing, moving or still? If we are primarily involved in a completely different action? If we are simultaneously aware of contradictory or complementary visual stimuli? When are we only hearing sound and silence, and when are we truly listening? What is 'listening'? Does a musical pattern have the significance at the beginning of a piece of music as at the end? Is there really a beginning, or an end, to a piece of music or to these returning patterns, or do we just begin, or stop, perceiving them at certain moments in our lives? Do we recognize something more the moment it appears, during its continued repetition or, later, in its absence? When do background events become meaningful, or worthy of our focused attention? How can a
prominent musical gesture cause the listener to notice a more subtle, but truly important, element in the wallpaper of sound surrounding it? What patterns linger in our memory? At what point during our experience of an event does memory begin? What is 'memory' in music? In what variety of ways in an orchestral piece might an instrumental line be so intriguing, that we perceive its function as a solo? Is there more or less expressive power in a solo which is performed by an individual, or a group? Are we moved, or excited, by loud, fast, passionate playing, or by our realization of gradual changes in a persistently static passage? Can there be an element of surprise in fulfilled expectation? - Interwoven in the Flames of Quietude are references to well-known works which we have heard numerous times and collectively recognize as part of our creative musical history (i.e. Bach, Mozart, Beethoven). A number of the instrumental parts also contain quotations from earlier Lann works which,
when placed along each other in this work in new combinations, acquire entirely new meanings. Several of the individual parts can, additionally, be performed as separate solo or chamber music pieces outside of, or alongside, the orchestral composition, offering the listener and the performer more angles from which to experience and understand them. During a performance of the piece, everyone present will further experience each musical event many times, in many guises - thus performing a personal recognition of, or individual attachment to, each gesture, no matter how simple it seems. VANESSA LANN

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