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Arthur Lourié

Lourié: Formes en l'air

$13.95
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Breitkopf & Härtel  |  SKU: EB8119  |  Barcode: 9790004175026
  • Composer: Arthur Lourié
  • Instrumentation: Piano
  • Work: Formes en l'air
  • ISMN: 9790004175026
  • Size: 9.1 x 12.0 inches
  • Pages: 12

Description

Lourié was one of the earliest Russian Futurists. He began composing with twelve-tone complexes as early as 1912, and in 1915 he published ideas for quarter-tone notation. "Formes en l'air," an archetype of graphic composition, is dedicated to Picasso.

These three miniatures reflect the harmonically austere style of the early experimental period, which was rich in dissonance and favoured the use of chordal combinations with half-tone tension. This early style evolved shortly thereafter in the direction of New Simplicity characterized by a new diatonicism and linearity, of which Lourié was also one of the forerunners.

The composer provided no information concerning tempo and interpetation of the Formes en l'air. Thus, in consideration of the otherwise so scrupulously indicated dynamics, it would seem that he deliberately left this question up to the performer. lt should not be forgotten, however, that Lourié was one of the earliest and most consequent representatives of the new sound ideal of objectivity and reduction: The Forms in the air should be performed transparently, not as a Scriabinesque sound ecstasy.

Breitkopf & Härtel

Lourié: Formes en l'air

$13.95

Description

Lourié was one of the earliest Russian Futurists. He began composing with twelve-tone complexes as early as 1912, and in 1915 he published ideas for quarter-tone notation. "Formes en l'air," an archetype of graphic composition, is dedicated to Picasso.

These three miniatures reflect the harmonically austere style of the early experimental period, which was rich in dissonance and favoured the use of chordal combinations with half-tone tension. This early style evolved shortly thereafter in the direction of New Simplicity characterized by a new diatonicism and linearity, of which Lourié was also one of the forerunners.

The composer provided no information concerning tempo and interpetation of the Formes en l'air. Thus, in consideration of the otherwise so scrupulously indicated dynamics, it would seem that he deliberately left this question up to the performer. lt should not be forgotten, however, that Lourié was one of the earliest and most consequent representatives of the new sound ideal of objectivity and reduction: The Forms in the air should be performed transparently, not as a Scriabinesque sound ecstasy.

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