Uploaded May 2020 | Updated September 2026, 2 weeks ago
A set of three films showcasing Psappha's pianist, Benjamin Powell.
Elliott Carter (1908-2012) - Intermittences
The many meanings silences can express in musical discourse challenged me to use some of them in Intermittences. This title was suggested by 'Intermittences du Coeur', one of the chapters in Marcel Proust’s novel. It is a short work that also uses many different piano sounds to convey its expressive meanings.
It was co-commissioned by the Carnegie Hall Corporation and The Gilmore International Keyboard Festival for Peter Serkin and composed in 2005.
Learn more about Elliott Carter - elliottcarter.com
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Jonathan Harvey (1939 – 2012) - Tombeau de Messiaen (1994)
This work is a modest offering in response to the death of a great musical and spiritual presence. Messiaen was a protospectralist, that is to say, he was fascinated by the colours of the harmonic series and its distortions, and found therein a prismatic play of light. The tape part of my work is composed of piano sounds entirely tuned to harmonic series - twelve of them, one for each class of pitch. The ‘tempered’ live piano joins and distorts these series, never entirely belonging, never entirely separate. Tombeau de Messiaen was written for Philip Mead (who commissioned it with funds provided in part by Eastern Arts) and dedicated to him and to Jake Harvey Tavener who was born ten hours before Tombeau was finished.
© Jonathan Harvey
Learn more about Jonathan Harvey - fabermusic.com/we-represent/jonathan-harvey
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Molly Joyce (born 1992) - Rave
Originally written for pianist Vicky Chow, Rave incorporates an inverse relationship between live piano and pre-recorded electronics, exploring the sonic possibilities of this complex relationship as it evolves over the course of the piece. As the piece progresses, these separate and unusual inverse roles of the live piano and electronics gradually cross to ultimately supplant each other by assuming their more anticipated roles.
Rave was made possible by a grant from the American Composers Forum with funds provided by the Jerome Foundation.
© Molly Joyce
Learn more about Molly Joyce - mollyjoycemusic.com
A set of three films showcasing Psappha's pianist, Benjamin Powell.
Elliott Carter (1908-2012) - Intermittences
The many meanings silences can express in musical discourse challenged me to use some of them in Intermittences. This title was suggested by 'Intermittences du Coeur', one of the chapters in Marcel Proust’s novel. It is a short work that also uses many different piano sounds to convey its expressive meanings.
It was co-commissioned by the Carnegie Hall Corporation and The Gilmore International Keyboard Festival for Peter Serkin and composed in 2005.
Learn more about Elliott Carter - elliottcarter.com
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Jonathan Harvey (1939 – 2012) - Tombeau de Messiaen (1994)
This work is a modest offering in response to the death of a great musical and spiritual presence. Messiaen was a protospectralist, that is to say, he was fascinated by the colours of the harmonic series and its distortions, and found therein a prismatic play of light. The tape part of my work is composed of piano sounds entirely tuned to harmonic series - twelve of them, one for each class of pitch. The ‘tempered’ live piano joins and distorts these series, never entirely belonging, never entirely separate. Tombeau de Messiaen was written for Philip Mead (who commissioned it with funds provided in part by Eastern Arts) and dedicated to him and to Jake Harvey Tavener who was born ten hours before Tombeau was finished.
© Jonathan Harvey
Learn more about Jonathan Harvey - fabermusic.com/we-represent/jonathan-harvey
-----------
Molly Joyce (born 1992) - Rave
Originally written for pianist Vicky Chow, Rave incorporates an inverse relationship between live piano and pre-recorded electronics, exploring the sonic possibilities of this complex relationship as it evolves over the course of the piece. As the piece progresses, these separate and unusual inverse roles of the live piano and electronics gradually cross to ultimately supplant each other by assuming their more anticipated roles.
Rave was made possible by a grant from the American Composers Forum with funds provided by the Jerome Foundation.
© Molly Joyce
Learn more about Molly Joyce - mollyjoycemusic.com
