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

Ulubeanu, Sabina: Cadenza Lirica 

 

 

Basic information

 

Notes

  • Program notes: 

    Cadenza liric for solo violin is a composition that operates with the notion of cadence, in its both meanings: melodic or harmonic termination of a musical phrase or the grand virtuosity section of a concerto musical composition.
    From a structural point of view, the piece is constructed in the form of a lied: ABA. The first section debuts with three phrases of different lengths, (the phrasing increases gradually). Each of the three phrases has as constitutive nucleus a certain type of melodic cadence: The classical tonal ca-dence, melodic cadences specific to the Gregorian or Renaissance music (prior to the affirmation of the tonality as the main musical system) and Gesture-cadences, more akin to contemporaneity (inverted chromaticisms, tritons, suspended phrases etc). The next bars, until the beginning of the „B” section, represent the development and the amplification of the previously explained proce-dures, in a virtuoso spirit of the instrumental cadence. Thus, the composition works deliberately with the cultural memory, on a „memory of ideas” conceptual level (because the cadences are the hard structures specific to every music era), and also from a historical point of view, because the spectacular component of the instrumental concert is fully represented by the instrumental cadence
    The second section, a slower one, also uses all cadence types, but the „goal” is the birth of a me-lody, exploiting the euphony given by fragments apparently disjoint. These fragments are linked to each other through harmonic pillars: minor ninths, major tenths and minor thirds. The ending represents the return of the first section, but in a form of a synthesis, inserting into the musical ma-terial all the elements „gained” in the „B”.

Share

 

Instruments

Total number of musicians: 
1
Musicians1st player2nd player
Violin
1

 

 

Content posted to the ISCM website reflects the viewpoint of individual submitters; its appearance herein does not imply official endorsement by the ISCM, its Executive Committee, or the Delegates to its General Assembly.