composer
Testimony:
__recording one-arm bandits in Las Vegas for “and god invented dice”
__developing new instruments like the soundwheel, plexiphone, the wind-twirler
__making a sound painting of of Tesla plasma lamps in slow motion ...
related works
Afterwalk (après promenade) : for partially prepared piano / Christina Viola Oorebeek
Genre:
Chamber music
Subgenre:
Piano
Scoring:
pf
Libro di melodie : per pianoforte / Diderik Wagenaar
Genre:
Chamber music
Subgenre:
Piano
Scoring:
pf
Lagoe Manis-Indonesia Timoer (East Indonesian Love Song) : for piano / Theo Smit Sibinga
Genre:
Chamber music
Subgenre:
Piano
Scoring:
pf
3 nocturnes : voor piano / Hugo Godron
Genre:
Chamber music
Subgenre:
Piano
Scoring:
pf
composition
Prismatic blues : for piano, 1997 / Christina Viola Oorebeek
Other authors:
Beethoven, Ludwig van
(on a theme by)
Johnson, James P.
(on a theme by)
Spann, Otis
(on a theme by)
Contains:
Primary blues
Indigo
The Prussian boogie
Description:
Program note (English): 'Prismatic blues' consists of three parts. - 1. 'In Primary blue' a four note motive with the ambitus of a perfect fourth, forms the basis of the melodic development in the piece. This short motive is being continually modulated (loosely following the 'circle of fifths') and uses rhythms taken from a number of typical boogie woogie patterns.The form follows the classic 12-bar blues in a very free manner. - 2. 'Indigo' is based on a polytonal blues pattern used as a musical 'object', in the sense of material with little variation. Between each repetition of the pattern, however, a process is set into working by changing one or more notes of the 'musical object', resulting in a harmonic transformation of the material into something new. - 3. In 'The Prussian boogie', I wanted to study how broken triad patterns in the European classical tradition might have influenced the early blues. I placed several motoric patterns from the second movement of Sonate op. 54 by Beethoven against
a bass line used by blues pianist Otis Spann in 'Run, run, run, baby, but you can't hide'. This results in polyrythmic effects, because the phrases have different lengths and accents. I also juxtaposed transitional sequences from op. 54 against a 3-2-3 bass pattern from (early) jazz pianist James P. Johnson. - CHRISTINA VIOLA OOREBEEK