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Published on Jul 22, 2008
Bridges, for solo viola (1995) Stephanie Griffin performs @ rehearsal
The particularity of the piece lies in the continuum that exist between noise and pitch materials. The constant use of 'glissando' signals to the decaying of pitch centered materials, bridging or stretching clearly defined pitch/harmonic elements to their 'complementary' noise objects. Thus, the constant glissandi - seen in the first place as a mere functional attachment linking different musical objects- ends up as the main 'thematic' element of the piece, conferring to it a kind of "sliding stability." These bridges or "intervals" dancing between diverse textural states, or musical objects, can also be linked to the idea of transposition - as in traditional harmony, when the mind tries to 'translate' different aspects of similar sound objects (they somehow "repeat," through contour throughout the piece) in a multitude of states or frequencies. As with my other pieces for acoustic instruments I was also attempting to make sense of the motoric/ergonomic apparatus of the viola, generating two parallel discourses or 'voices' : the first more attuned to the surface materials, their sequence and logical/illogical combination; the second - thought also as a generator of 'secondary thematic' elements - more concerned with purely motoric considerations (i.e. gestures, fingers' suitability, extended techniques, etc.) Thus, this piece is a superimposition of complex rhythmic materials and motoric patterns that friction between themselves 'sparkling' the compositional design. This piece is dedicated to violist Paul Silverthorne..