SPRING 2011 CONCERT: BERIO, MARINESCU, AND GABRIELI
Experience the arch of Berio‘s unique creative approach to self-appropriation, Liviu Marinescu‘s newest intricate textures, and Giovanni Gabrieli‘s enveloping resonances.
[Check out a sneak peek of Marinescu’s new work Harmonic Fields on YouTube!]
Young Riddle, conductor
Zach Dellinger, viola soloist
- Luciano Berio, Sequenza VI for solo viola
— Chemins II (su Sequenza VI) for viola solo and 9 instruments - Giovanni Gabrieli, Canzona per sonare no. 4
— Canzon duodecimi toni - Liviu Marinescu, Harmonic Fields (premiere of expanded version)
Tickets $28 / $10 student
($25 in advance by calling 818-591-0232)
Sunday, May 1, 2011 at 4:00 p.m.
10497 Wilshire Blvd.
Los Angheles, CA 90024
About the Composers
buy viagra best (1925 – 2003) was both keenly aware of tradition and consistently probing new forms of musical communication. In his Sequenza VI for solo viola he explores the idiomatic potential of an individual instrument. But in a unique and highly creative reflection he further elaborates on that music by enveloping the solo viola line of Sequenza VI verbatim in an ensemble of 9 instruments in his Chemins II. Thus music initially conceived for viola, inspired by the viola’s particular sound characteristics and playing mechanics, becomes re-imagined with a broader palette: harmonic and timbre implications extended, rhythms and articulations amplified, foreshadowed, reflected back upon… Unlike the usual dialectic relationship between solo and ensemble, Berio’s approach here is more that of stone to ripples across the surface of an exquisitely sensitive pond.
Among the highly gifted composers presently working in Los Angeles, Romanian Liviu Marinescu‘s steadily evolving voice is particularly compelling. His rich poetic sense and probing intellect are wonderfully combined in his most current work, Harmonic Fields. Nimbus is proud to present the premiere of its expanded version’s exploration of heterophony and sound resonance.
Like Marinescu, Giovanni Gabrieli (ca. 1557-1612) explored sonic resonance. Noted for it’s unique architecture and subsequent acoustics, St. Mark’s church in Venice turned the creative imagination of composers who worked there toward aural envelopment, especially antiphonal schemes. Our concert venue has been noted for it’s engaging acoustics, making Gabrieli’s early Baroque works for brass and organ an especially attractive pairing with Marinescu’s contemporary spectrally-inspired approach.