ISCM

C0 note (16,35 Hz) — vibrating on liquid surface

D0 note (18.35 Hz) — vibrating on liquid surface

C0 note (16,35 Hz) — vibrating on liquid surface

F0 note (21.83 Hz) — vibrating on liquid surface

G0 note (24.50 Hz) — vibrating on liquid surface

A0 note (27.50 Hz) — vibrating on liquid surface

Azguime, Miguel: Illuminations 

 

 

Basic information

 

Notes

  • Program notes: 

    "Illuminations" is scored for a typical Mozart orchestra (with the exception of two clarinets doubling two bass clarinets). It was composed between October 2015 and March 2017, having been premiered by the Portuguese Chamber Orchestra conducted by Pedro Carneiro, to whom it’s dedicated, at the Belém Arts Centre in Lisbon on April 24th 2016.

    Its only material is a theoretical harmonic and sub-harmonic spectrum, somehow "synthesized" by the orchestra. Opposed to many of my recent works, in which different models or sonic objects are transformed into each other, here only one sonic object is subject to multiple metamorphoses. Different views and perspectives deform it and make it follow a journey without return, from one point to another through its diverse states, as if spreading different lightings into the harmonic material. The piece is clearly divided in several sections that follow each other without interruptions.

    The first section superimposes both the harmonic and sub-harmonic spectrum; the second section "freezes" a certain state of the spectrum and slowly sweeps up and down its partials. This second section leads to an intermezzo, a kind of "murmurando", during which a poem verse is whispered; then comes the third section like a burst of energy based on the idea of the "Shepard tone" acoustic illusion, as if the "glissandi" were rising indefinitely. This third section dissolves in successive repetitions subject to erosion, until a "tenuta" in the lowest register is reached, which is a sort of virtual foundation of the spectrum in the whole piece.

    Then comes the fourth section that is built on a counterpoint of several morpho-temporal configurations of the original spectrum in an "espressivo" attitude, yet which is suddenly interrupted. The fifth and final section is suspended in time as if never ending. In the end the murmur of the timpani remains alone.

    The work’s title "Illuminations" also carries a poetical meaning, joining my activities as a poet and as a composer. In its core the piece has a small verse whispered by the woodwinds and brasses: "O assombro de ti está em todos os lugares" (The wonder of you is everywhere). "Ti" (You) could be expressed with a small or capital letter to express human love or god’s love, according to each one’s wishes and beliefs; in either cases it is a metaphysical search towards enlightenment. At the end, time is suspended eternally... but, as in life, it will inevitably be interrupted.

    Miguel Azguime

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Instruments

Total number of musicians: 
52
Musicians1st player2nd player
Flute
2
C
C
Oboe
2
Oboe
Oboe
Clarinet
2
B-flat
Bass
B-flat
Bass
Bassoon
2
Bassoon
Bassoon
Horn (F)
2
Trumpet
2
C
C
MusiciansInstruments
Percussion
1
Timpani
Musicians1st player2nd player
Violin
22
Viola
8
Cello
6
Double Bass
3
4-string
4-string

 

 

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