HANS ABRAHAMSEN SCHNEE PDF

But that quiet, frozen rustle at the close is an essential nod to another of Mr. Abrahamsen said in an interview at his Midtown Manhattan hotel before the Carnegie performance in January. Borrowing a piece of paper, the trim, soft-spoken composer began sketching out analytical parallels between the works. Abrahamsen, who walks with a distinct limp, has cerebral palsy. He recalled listening as a child to his father, a schoolteacher, play piano in their apartment outside Copenhagen. But his right hand had only two fingers capable of playing the instrument, and he could not advance.

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But that quiet, frozen rustle at the close is an essential nod to another of Mr. Abrahamsen said in an interview at his Midtown Manhattan hotel before the Carnegie performance in January. Borrowing a piece of paper, the trim, soft-spoken composer began sketching out analytical parallels between the works.

Abrahamsen, who walks with a distinct limp, has cerebral palsy. He recalled listening as a child to his father, a schoolteacher, play piano in their apartment outside Copenhagen. But his right hand had only two fingers capable of playing the instrument, and he could not advance.

A family friend suggested he take up the French horn, which could be mastered with one hand, so he did. In his music, Mr. Abrahamsen uses restraints as opportunities for creative exploration. And it becomes something else.

Attracted to approaches from the United States, Mr. Abrahamsen views himself as more a Classicist than a Romantic, drawn to objectivity and Stravinsky-like detachment rather than emotional excess. Between and , he wrote just one short song. He felt that his music had become so complex that he no longer had the tools to create what he tried to imagine. He stumbled across a set of obscure canons by Bach that sounded oddly contemporary. Abrahamsen used his Bach arrangements as a model for two large-scale canons, written for a deliberately symmetrical instrumentation: a nonet comprising two trios of winds and strings, two pianos and a single percussionist.

The first canon begins with a violin playing whispery, repeated tones against a hushed piano. Abrahamsen expanded the work into 10 canons that make up an hour of ghostly music. As the instruments swirl in polyphonic motion, they create vivid images of frost: In what is now an Abrahamsen signature, the percussionist rubs sheets of paper on a table, and the two pianists run their fingernails across the keys in eerie glissandos.

Between movements, performers are asked to retune their instruments lower and lower, so that the music becomes more and more uncanny. We have this kind of fermata. And then, for nearly a decade, Mr. Abrahamsen fell silent. Home Page World U.

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Hans Abrahamsen: Fame and Snow Falling on a Composer

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Hans Abrahamsen: Schnee / journey into the frozen wilderness

Composer or Director: Hans Abrahamsen. A sound world to which Ensemble Recherche is evidently attuned and which is vividly conveyed by this recording, in which the antiphonal placing of the ensemble violin, viola and cello to the left with flute, oboe and clarinet to the right, each of these trios featuring a piano to the rear and separated by a central percussionist is afforded almost tangible presence. The scene is set by a pertinent note from the composer, keen to avoid the impression that the rarefied nature of his music makes it wantonly cerebral — something with which those who give this disc the benefit of any doubt will surely agree. Abrahamsen, H Schnee Schnee 10 canons. Among the leading younger figures of the s, Hans Abrahamsen largely ceased original composition until the arrival almost a decade ago of his Piano Concerto, and now comes his largest project yet. Schnee grew out of his transcribing of Bach canons: the result is a sequence of original pieces unfolding in five complementary pairs that mirror each other in their counterpoint and texture, with the qualities of one half being reflected — often distorted — in the other. Follow us.

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