Accetta i cookie Personalizza i cookie. Canto Ostinato, Section C Page Rondane Kwartet. Per approfittare dei vantaggi offerti da Prime Music, accedi alla Libreria musicale e trasferisci il tuo account su Amazon.

Aggiungi alla libreria musicale. Recensioni clienti. Come vengono calcolate le valutazioni? Section 41 9. Section 56 Section 60 Section 69 Theme I, Section 74 Section 78 Section 88 A 2. Section 88 B 3. Although most bars or sections feature repeat signs and although the performer s decide s on the number of repeats, one cannot speak of repetition-as-such.

Repetition in this case has as its goal to create a situation in which the musical object affirms its independence and can search for its most favorable position with respect to the light thrown on it, becoming transparent. Time becomes the space in which the musical object floats. The performers have a wide margin of contribution. They decide about dynamic contrast, duration in detail as well as for the whole about the use of opposing or non-opposing differentiation of timbres, whether or not to play passages in unison.

Also about repetition and combination of bars and sections, depending on their place within the score. The performers also decide, depending on available time and physical effort, whether they will take turns or if there will be a pause. A performance of Canto is more like a ritual than a concert.

The piece is not in a hurry and has in common with so called minimal music that one cannot speak of fixed duration.

As stated the first performance lasted two hours but it could have easily been more or less. The main part of Canto is indicated by the bracketed systems in bolder type. For the right hand there are two systems on which alternatives variants have been notated.

Likewise there is one alternative stave for the left hand. Apart from these alternatives each bar or section of the basic part itself has the possibility for variation: by displacement of accents and dynamic contrasts. Some suggestions for these are given in the score by thinly drawn stems connecting notes within each group. Bars and sections are indicated now by letters A,B,C, etc.

Through its constant return A forms a pivotal or rest point. The ordering of A and its satellite-sections as given in the score is, in a certain sense, relative. They do not have to be present all the time — they can disappear and return — and they need not be filed to the notated octave register.

During the sixties Ten Holt immersed himself in serialism. During the seventies, Ten Holt concentrated on tone and timbre and on sonology. The work was performed on three pianos and electronic organ. Later on Ten Holt felt that the best performance option would be four equal-sized grand pianos; however, the score still bears the subtitle: for keyboards.

Even today, one could say that, in a sense, this is still true. In the late s, Ten Holt provoked the wrath of countless musical know-alls by returning to sounds that every ear could understand. He had the courage to abandon the complex, twelve-tone scores of the post-war era, which he traded in for simple triads, shifting rhythmic patterns and repeat signs.

In what does his musical process differ so much from that of other contemporary composers? In classical music the composer typically makes the final decisions about what and how to play; here instead, the performers are the decision-makers and are therefore part of the recreation of the composition. They decide about dynamic contrast, duration in detail as well as for the whole , about the use of opposing or non-opposing timbre differentiations, whether or not to play passages in unison.

A performance of Canto is more like a ritual experience than a regular concert. About This Item. We aim to show you accurate product information. Manufacturers, suppliers and others provide what you see here, and we have not verified it. See our disclaimer. Canto Ostinato. Specifications Music Genre Classical. Customer Reviews.

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