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A.Q.A.R.

[2014]

  

Commissioned by the Harvard Summer Composition Institute Residency

 

instrumentation: flute_clarinet_percussio_piano_violin_viola_violoncello_tape

duration: 9'

composed during: 03/01/2014 - 06/01/2014

composed in: Salzburg_Frankfurt am Main

dedicated to: Talea Ensemble

 

 

performances: 

  • 07/10/2016_LAB_Frankfurt am Main_Germany_IEMA-Ensemble_conductor: Pablo Druker
  • 07/05/2016_Universität Kassel_Kassel_Germany_IEMA-Ensemble_conductor: Pablo Druker
  • 12/14/2014_Mozarteum University_Salzburg_Austria_Ensemble Interface_conductor: Paul Williot-Förster
  • 08/23/2014_Harvard University_Boston_USA_Talea Ensemble_conductor: Eduardo Leandro

 

 

program note: 

A.Q.A.R. is, like my pieces Elif Lam Mim [2013] and A.Q. [2014], continuing my discursive and critical work with different sound-characteristics of various schools of Qur’an-Recitation, which have a more than 1400-year tradition. Over hundreds of years various types of recitation developed all over the world, with their own melodic (microtonal) and rhythmic structure. 

Each of the 114 surahs of the Qur'an has an unique rhythmic and aural structure, an individual phrasing, an individual tone. Thus, the artistic potential that is inherent in this field of work, is immeasurable.

 

A.Q.A.R. is an abbreviation for Al Qiyama (the resurrection) and Ar Rahman (the Most Gracious), which are the 75th and 55th surahs of the Qur’an. The starting point was a sound-analysis of this two surahs. The different musical parameters are based on the results of this analysis.They give a base for the compositional work. One verse (Aya) corresponds to one bar. The asymmetric metric structures (by addition) are a peculiarity of the Qur’an-Recitation and arise from the temporal analysis of these. Thus, each bar is a "closed" musical unit.

The confrontation of shortness of breath and lengthiness in the Qur’an-Recitation (depending on the reciters, who represent different schools) and the abrupt change of various sound structures, the overturning and the fast passing of sound actions shape the music. The piano has a special role: 

Mostly using tuning-fork techniques (with different frequencies) inside the piano, it represents the ‚purity‘ of the human voice. The tape is to be understood as an extension of the piano. The global sound tries to reach a transcendency, which refers to the content of the two surahs.