composer
Lewis Nielson (b. 1950) studied music at the Royal Academy of Music in London, England, Clark University in Massachusetts and the University of Iowa, receiving a Ph.D. in Music Theory ...
related works
Tocsin (Die fünf Jahreszeiten) : for percussion sextet / Lewis Nielson
Genre:
Chamber music
Subgenre:
Percussion
Instruments:
6perc
Tempo impetuoso d’estate sull’ esempio di Vivaldi : for ensemble / Elmer Schönberger
Genre:
Chamber music
Subgenre:
Mixed ensemble (2-12 players)
Instruments:
cl h perc pf/cemb 2vn vla vc db
zacht & licht lacht t maangezicht : for clarinet, basset horn and accordion / Max Knigge
Genre:
Chamber music
Subgenre:
Mixed ensemble (2-12 players)
Instruments:
cl bh acc
Opus 3 met gestreken en geslagen tonen : voor ensemble / Karel Goeyvaerts
Genre:
Chamber music
Subgenre:
Mixed ensemble (2-12 players)
Instruments:
perc pf timp vn vla vc
composition
Axis (Sandman) : for percussion and string quintet / Lewis Nielson
Description:
Axis has no overt process that directs its motion but does have a gradually evolving motion toward greater coordination of attack rhythm and sound focus, manifested primarily through stabilization in the percussion on particular instruments for increasing periods of time. A kind of symbiosis exists between strings and percussion (not and NEVER an opposition!) that facilitates, and occasionally redirects, this motion. The sound of the piece does not depend in any way on its pitch content, which was determined solely as a function of timbre. The compositional challenge was to write for strings as if they were multiple percussion set-ups within themselves and arrive at a combinative structure whose progress is directed by rhythm and timbre only. While there is no final performance set-up of the total ensemble that I would consider essential, an arrangement where the strings were somehow to be arrayed around the percussionist would be ideal, providing the performers can see and communicate with each other, that all sounds can be perceived individually, and, if a conductor is used, line of sight to him or her is not impeded. This would be ideal in the version for string orchestra. While I resist programmatic reference to visual imagery, I would find a configuration along the lines of Dante’s Celestial Rose to be ideal.
Lewis Nielson