Celan Pieces: for violoncello and piano

Andreo Gázquez, Francisco José

Publication:
Celan Pieces: for violoncello and piano

dc.contributor.author	Andreo Gázquez, Francisco José
dc.contributor.department	Expresión Plástica, Musical y Dinámica
dc.coverage.spatial	Estocolmo
dc.date.accessioned	2026-02-23T16:22:31Z
dc.date.available	2026-02-23T16:22:31Z
dc.date.copyright	© 2021 Gehrmans Musikförlag AB, Stockholm
dc.date.created	2020
dc.date.issued	2021
dc.description	Celan Pieces (Score) Winner of the 2020 O/Modernt International Composition Award World premiere: 22 November 2020; City of Birmingham Symphony Orchestra Centre.
dc.description.abstract	The first movement, Und sie gruben (digging) refers to the poem Es war Erde in inhen by Paul Celan, which makes use of the geminatio rhetoric figure. The verb gruben (to dig) is repeated, combined and used thru the entire poem, giving it an organic structure. The music is constructed following this idea, both from the parallelism concept-music material (a musical gesture which repeat note, very rhythmical and articulated, as someone digging) and from the the idea of an organic structure, thru the repetition and transformation of the gesture throughout the movement. In Lob der Ferne, Celan enriches the theme of love and distance by contrasting a series of images, as an oxymoron (we separate intertwined, I am you when I am me, etc.), which give these words a certain sense of flow, transmission, liquid. This second movement translates this idea by enriching the pieces of an expressive melody with sonorities of flow such as the glissandi, a broad vibrato, string changes and wide intervals. Lastly, the third movement, Mandorla, is composed after the homonymous poem. Celan uses this geometric figure, probably remembering its occasional use in romanesque Tympanums, as a reflection of nothingness and at the same time the infinite, where the possibility of creation occurs. Musically, I choose to build this infinite, mystical space where nothingness and creation coexist, through repetition. Elements that tear the discurse, as in the poem, make sound this dichotomy.
dc.format	application/pdf
dc.format.extent	20
dc.identifier.isbn	ISMN 979-0-070-14069-0
dc.identifier.uri	http://hdl.handle.net/10201/211141
dc.language	eng
dc.publisher	Gehrmans Musikförlag
dc.relation	Goethe Institut, Birmingham Contemporary Music Group, O/Modernt Music Festival
dc.relation.publisherversion	https://gehrmans.se/products/14069-celan-pieces
dc.rights.accessRights	info:eu-repo/semantics/restrictedAccess
dc.subject	Composición musical
dc.subject	Música contemporánea
dc.subject	Música
dc.subject.ods	No relacionado con ningún objetivo de desarrollo sostenible
dc.title	Celan Pieces: for violoncello and piano
dc.type	info:eu-repo/semantics/other
dc.type.version	info:eu-repo/semantics/publishedVersion
dspace.entity.type	Publication
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