Vinao-Formas del Viento-Version 2 PARTS ONLY-V/M/FL OS - Product Information
Alejandro Vinao's Formas Del Viento was commissioned by a consortium of players and the Festival Cervantino. There are 2 versions of this piece - this version contains the PARTS ONLY to Version 2 that is for flute and 2 percussionists (one playing the vibraphone, the other playing the marimba parts). This version also contains the training MP3 tracks available from the composer.
"In the first movement of this piece I tried to achieve an effect of outward simplicity. A tune or melodic cell with a certain 'groove' repeats itself, time after time, subjected only to what appears to be just minor variations. I imagine my audience listening to the Dance of the Nigh Wind with a certain abandon. And as the structure and rhythms get more complex the listener might just sink into them without expecting great tension or drama to unfold. In this sense this movement is unlike most of my music where the complexity of the form and local syntax is apparent.
I was not seeking simplicity, which is not much, but what Jorge Luis Borges has described as 'secret complexity', a feeling that there are more layers to a discourse than it appears to be and that we are happy to let that underlying complexity remain in the background.
In the second movement I return to one of my favorite themes: the preoccupation with polyrhythms and their ability to give the impression or create the illusion that more than one time is going on at the same time. Here the influence of Nancarrow and Ligeti is never far."
A.V. 2008
"In the first movement of this piece I tried to achieve an effect of outward simplicity. A tune or melodic cell with a certain 'groove' repeats itself, time after time, subjected only to what appears to be just minor variations. I imagine my audience listening to the Dance of the Nigh Wind with a certain abandon. And as the structure and rhythms get more complex the listener might just sink into them without expecting great tension or drama to unfold. In this sense this movement is unlike most of my music where the complexity of the form and local syntax is apparent.
I was not seeking simplicity, which is not much, but what Jorge Luis Borges has described as 'secret complexity', a feeling that there are more layers to a discourse than it appears to be and that we are happy to let that underlying complexity remain in the background.
In the second movement I return to one of my favorite themes: the preoccupation with polyrhythms and their ability to give the impression or create the illusion that more than one time is going on at the same time. Here the influence of Nancarrow and Ligeti is never far."
A.V. 2008
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