Manfred Stahnke Video
compositore tedesco
- opera
- Germania
- compositore, musicologo, professore universitario
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2024-04-30
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Manfred Stahnke Harry Partch Dreyer Bourdon Ligeti 1901 1987 2005 2014 2017
Manfred Stahnke: PARTCH HARP, for harp and synthesizer Gesine Dreyer, Harfe Manfred Stahnke, Synthesizer DX 7-II This piece was written in 1987/89 for a harp in scordatura, containing "natural" just major thirds (5/4) and "natural" just minor sevenths (7/4). The numbers 5 and 7 indicate the partials of a fundamental tone "1" of course. The synthesizer's tuning follows the harp tuning and allows these just intervals for any played pitch up and down (the tuning is 12th root of 1.956, which means a12ET of a narrow "non-octave"; the mistake against just 5/4 or 7/4 is less than 1 cent). The way of thinking in "whole numbers" looks quite mathematical, but it is very much linked to how our ear is working. Apparently it measures towards "simplicity": If we listen to a so-called "tempered" interval, the ear adjusts these intervals mentally to the simpler forms, and will accept a "distuned" third as a "natural" third with some added noisy features. In my piece "PARTCH HARP" however, the "noisiness" becomes a well incorporated part. If the deviation from the simple interval is too big - say a quarter tone - then the ear cannot adjust anymore and detects a "wrong" interval. This is especially true for my octaves and fifths, the very simple 2/1 and 3/2 proportions. Imagine three "just thirds" on top of each other C-E-G#-B#. the summed up deviation from an octace C-c is almost a quartertone. The same is true for my synthesizer tuning where every minor second is "short" by 3.5 cents. If you superimpose 7 of them to get a fifth, this strange "fifth" misses 7x3.5=24.5 cents, a very audible eighth tone. The strange - or charming - feature of PARTCH HARP is that the harp is tuned in perfect octaves, and the synthesizer not. By this I get a strangely drifting vessel in an ocean of well tuned asymmetry. As to the title: Harry Partch +••.••(...)) invented a just tuned 43 tone scale, and to play it, he built his own instrumentarium. The movements are: Zwiegesang - double chant Partch Harp Partch Bourdon Partch en ciel / Soundfiles and Scores at Babelscores (http•••) Books on Microtonality: • Mein Blick auf Ligeti, Partch & Compagnons. Gesammelte Aufsätze, Vorträge und Interviews, 424 Seiten, Norderstedt 2017, ISBN 978-3-7431-6663-9 • 1001 Microtones, Neumünster 2014 ISBN 978-3-95675-003-8 • Mikrotöne und mehr - Auf György Ligetis Hamburger Pfaden, Hrsg. von Manfred Stahnke, Hamburg 2005, ISBN 3-932696-62-X Portrait: • Just in Tone & Time, Assoziationen an Manfred Stahnke, ed. Benjamin Helmer & Georg Hajdu, engl. / deutsch, Neumünster 2017, ISBN-10: 3956750209
Frédéric Chopin Sergei Rachmaninoff Stahnke Robertson 1998 1999
Provided to YouTube by Universal Music Group Chopin: 3 Nocturnes, Op. 15: No. 1 in F Major · Sergei Rachmaninoff · Frédéric Chopin · Frédéric Chopin · Frédéric Chopin · Frédéric Chopin A Window in Time: Rachmaninoff Performs Works of Other Composers (Realized by Wayne Stahnke) ℗ 1998 Telarc International Corp., Distributed by Concord. Released on: 1999-03-01 Associated Performer, Realisation, Producer, Recording Producer: Wayne Stahnke Studio Personnel, Recording Engineer: Da-Hong Seetoo Studio Personnel, Mastering Engineer: Robert Friedrich Studio Personnel, Mastering Engineer: Mark Robertson-Tessi Composer Lyricist: Frédéric Chopin Auto-generated by YouTube.
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