WARM-UP (2012)
WARM-UP (2012)
for French horn and two percussionists
instrumentation: cor, 2perc
duration: 10 minutes
première: March 13, 2012, Slovenian Philharmonics, Ljubljana, Slovenia
Saar Berger – French horn, Franci Krevh and Matevž Bajde – percussion
Conducted by Steven Loy
Recommended work at the 2012 International Rostrum of Composers
WARM-UP
score preview
WARM-UP
(full recording)
Ensemble Modern: Saar Berger – French horn, Rumi Ogawa and David Haller – percussion
Recording published on CD – Travelling pieces by Ensemble Modern Medien
Additional performances
Ensemble Modern
Ensemble Modern
Ensemble Modern
Ensemble Modern
VIDEO
Ensemble Modern: Saar Berger, Rumi Ogawa, David Haller
Accademia Tedesca Roma Villa Massimo
Ensemble Modern: Saar Berger, Rumi Ogawa, David Haller
Accademia Tedesca Roma Villa Massimo
ABOUT
WARM-UP, for French horn and percussion, is a further chapter in Žuraj’s portfolio of contrasting compositions for the French horn. Profiting in this case from a close collaboration with the virtuoso horn player Saar Berger, Žuraj produced a work in marked contrast to the highly-charged and energetic character of earlier works such as the Cadenza per corno and the Concertino for horn and four woodwind instruments. The title WARM-UP was also a brainchild of Saar Berger’s, who suggested that a piece dedicated to warming up would be a fitting complement to Žuraj’s cycle of compositions dedicated to match-situations in tennis.
The more introverted style of writing for the horn is paired in numerous passages with a ‘native’ notation for the instrument – instead of being notated as pitches on a scale system, the horn’s notes are notated as points on the natural harmonic series that underpins the instrument’s tuning. The resulting departure from traditional Western scale-systems is underlined by the presence within the percussion section of a kalimba tuned in quarter-tones. The work is organised along clear formal principles with sections of varying instrumentation, while the density of the texture is controlled according to algorithmic principles based on periodicity versus aperiodicity.
Alwyn Tomas Westbrooke
WARM-UP, for French horn and percussion, is a further chapter in Žuraj’s portfolio of contrasting compositions for the French horn. Profiting in this case from a close collaboration with the virtuoso horn player Saar Berger, Žuraj produced a work in marked contrast to the highly-charged and energetic character of earlier works such as the Cadenza per corno and the Concertino for horn and four woodwind instruments. The title WARM-UPwas also a brainchild of Saar Berger’s, who suggested that a piece dedicated to warming up would be a fitting complement to Žuraj’s cycle of compositions dedicated to match-situations in tennis. The more introverted style of writing for the horn is paired in numerous passages with a ‘native’ notation for the instrument – instead of being notated as pitches on a scale system, the horn’s notes are notated as points on the natural harmonic series that underpins the instrument’s tuning. The resulting departure from traditional Western scale-systems is underlined by the presence within the percussion section of a kalimba tuned in quarter-tones. The work is organised along clear formal principles with sections of varying instrumentation, while the density of the texture is controlled according to algorithmic principles based on periodicity versus aperiodicity.
Alwyn Tomas Westbrooke
