composer

Oorebeek, Christina Viola

General: Christina Viola Oorebeek was born in New Work, on November 7, 1944. Since 1972, she lives in Amsterdam. Education: Christina immersed herself in music as a profession at 21, teaching ...

related works

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VII: Stenen eten : voor twee piano's, '65 / Jos Kunst

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composition

Prismatic blues : for piano, 1997 / Christina Viola Oorebeek

Publisher: Amsterdam: Donemus, 1998
Publisher's number: 09439
Genre: Chamber music
Subgenre: Piano
Instruments: pf
Remarks: Gebaseerd op thema's uit het tweede deel van de sonate op. 54 van Beethoven, en baspatronen van Otis Spann en James P. Johnson. - Opgedragen aan Marcel Worms. - Tijdsduur: ca. 9'
Duration: 9'00"
Number of players: 1
Status: fully digitized (real-time delivery)

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

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