MUSICA SACRA II: funeral processing

MUSICA SACRA II: funeral processing
for piano, percussion and electronics(To memory of my grandma Augusta)
The title of the piece is allegorical. There are only the vibrations in the memory, the consequence lost the cause, the sound material lost the memory of its own instrument, its own body, Once started moving vibrations lost the memory of their strings, strings lost the memory of their hammers, hammers - of their keys, keys of their fingers. It’s necessary to bring the lost connection back, to bring the keys movements, the strings, and the fingers touching to terms, to renew their broken memory.
COMMENTARYThis piece is the next in a cycle “Musica sacra”. I’ve applied the same principle of working I found out for the first piece (Musica Sacra for percussion ensemble).The sketches are representing the process of functioning of different types of materials. There are some of them: each is inspirited by visual elements. For example, the funeral ribbons, which are very unstable in width through the air oscillation. These ribbons (or in other words bands) are interpreted as a kind of filter, which is applied to note systems. The chords are generated with the principle of snapshots; the distance between snapshots depends on the speed of imaginary moving. The other visual elements are lines of steps – character of their movements (faster or slower) and mapping of their combinations. All elements coexist in parallel as if there some parallel music where a silence is one of the music.The general musical idea of the piece is to renew the harmony between actions of musicians, the cause of making sound and the sound result.At the same time the piece is a ritual, which has some allegorical to do with Liszt piano piece.