FIRED-UP (2013)

FIRED-UP (2013)

for ensemble

ensemble: 1*.1.1.1*/1.1*.1.0./perc/pno/1.1.1.1.1
duration: 10 minutes
première: September 13, 2013, MiTo Settemble Musica Milano, Auditorio San Fedele, Italy
Klangforum Wien
Conducted by Jean-Michaël Lavoie

Project for the Final round of Premio San Fedele Milano 2013

FIRED-UP

score preview

FIRED-UP

(full recording)

Klangforum Wien, conducted by Jean-Michaël Lavoie
Audio from DVD – Unirsi al cielo by Centro San Fedele, Milano

Additional performances

September 21, 2015, Konzerthaus Wien, Austria
Klangforum Wien
Conducted by Baldur Brönnimann
November 15, 2014, Wien, Urbo Kune, Austria
Klangforum Wien
Conducted by Sylvain Cambreling
June 20, 2014, Manifeste Paris, Centre Pompidou, France
Klangforum Wien
Conducted by Emilio Pomarico
October 4, 2013, Festival Musikprotokoll Graz, Helmut List Halle, Austria
Klangforum Wien
Conducted by Jean-Michaël Lavoie

VIDEO

FIRED-UP: Full recording
Klangforum Wien
Conducted by Jean-Michaël Lavoie
Published on DVD – Unirsi al cielo by Centro San Fedele, Milano

FIRED-UP: Full recording
Klangforum Wien
Conducted by Jean-Michaël Lavoie
Project for Centro San Fedele Milano

ABOUT

Žuraj writes of FIRED UP, “One of the foremost images in my mind while writing Fired Up was the idea of friction as a means of igniting something, which I envisaged not chiefly in terms of starting a fire, but as the “ignition” of a chain of complex, interconnected musical structures in which each sparks off the next. I have observed examples of friction in various aspects of sound sculpting, such as narrow intervals, combination tones, overlapping rhythmic patterns, multiphonics and the physical act of producing sound.”

One of the most striking aspects of FIRED UP is the use of pairs of stones by the ensemble players as additional percussion instruments. What is striking is not so much that the stones are used, but how they are employed. At the very opening of the piece, the sound of several pairs of stones being rubbed together emerges from toneless blowing through the wind instruments. This builds to a crescendo, with one pair after the other transitioning to being struck together. Sparing use of percussion instruments adds an extra dimension to the stones’ chatter. When at last the first clear, sustained pitches ring out from the crotales, it appears to emerge entirely organically from the sound of the stones themselves. Percussive strumming of the strings, each with a plectrum, also emerges as an extension of the harmonic spectrum of the stones.

Indeed, it is a long time before the ensemble emerges fully from the chatter of the stones, and when it does, the sound still seems to be informed chiefly by the stones’ timbre , dominated by the secco strumming of the strings and splintered figures in the wind instruments. Alongside this, Žuraj’s trademark use of extreme registers – often simultaneously – and rapid chromatic figurations puts a clear personal stamp on the work.

Alwyn Tomas Westbrooke

Unirsi al cielo (2014)

Published by San Fedele Musica

Klangforum Wien, Jean-Michaël Lavoie

recorded pieces:
FIRED UP

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