API-DANZA MACABRA (2021)

for symphony orchestra

orchestra: 2.2.2*.2*/2.2.1.0/timp/2perc/arp*/6.5.4.3.2
duration: 5 minutes
première: June 25, 2021, Kölner Philharmonie
WDR Sinfonieorchester Köln
conducted by Cristian Măcelaru

commissioned by the WDR

VIDEO

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API-DANZA MACABRA

score preview

API-DANZA MACABRA

June 25, 2021, Kölner Philharmonie (première)
WDR Sinfonieorchester Köln, conducted by Cristian Măcelaru

Additional performances

April 13, 2022, Slovenian Philharmonic, The Kozina Hall
Slovenian Philharmonic
Conducted by Matthias Hermann

April 8, 2022, Musiikkitalo Helsinki, Helsinki Philharmonic Orchestra,
Conducted by Elena Schwarz

VIDEO

API-DANZA MACABRA: Full recording
WDR Sinfonieorchester Köln
Conducted by Cristian Măcelaru
© 2021 by WDR Klassik

API-DANZA MACABRA: Video feature
Video by Lisa Ruhfus
© 2021 by WDR 3

API-DANZA MACABRA: Full recording
WDR Sinfonieorchester Köln
Conducted by Cristian Măcelaru
© 2021 by WDR Klassik

API-DANZA MACABRA: Video feature
Video by Lisa Ruhfus
© 2021 by WDR 3

PHOTO

Daniel Gottschlich and Vito Žuraj, © 2019 Maximilian Burk

Daniel Gottschlich cook-performer, © 2019 Ras Rotter

ABOUT

CLOOP is a trio for alto flute, musical saw and percussion. It is predominantly in an almost improvisatory vein, with the flute and percussion adorning the long cantilena of the musical saw with arabesques that exude a hint of orient.al colour. The musical saw’s naturally sinuous lines, sliding from one note to the next, are complemented by a considerable degree of rhythmic freedom in the other instruments. In a subtle but judicious contrast to the prevailing improvised character, the musical saw’s lines are occasionally doubled by the other instruments, resulting in moments of crystal clarity clothed in unexpected timbres.

Alwyn Tomas Westbrooke

CLOOP is a trio for alto flute, musical saw and percussion. It is predominantly in an almost improvisatory vein, with the flute and percussion adorning the long cantilena of the musical saw with arabesques that exude a hint of orient.al colour. The musical saw’s naturally sinuous lines, sliding from one note to the next, are complemented by a considerable degree of rhythmic freedom in the other instruments. In a subtle but judicious contrast to the prevailing improvised character, the musical saw’s lines are occasionally doubled by the other instruments, resulting in moments of crystal clarity clothed in unexpected timbres.

Alwyn Tomas Westbrooke

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WARM-UP

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