home   bio   news   works   pictures   scores   audio   videos   projects   texts   links   contact   ?

 

#1. Aerial perspective (flügelhorn) is inspired by the version of Mona Lisa by the Hawaiian singer Israel Kamakawiwo'ole; the flüglehorn emulates an old radio, which can be heard in the song. We can distinguish the song  "Mona Lisa" in small fragments, with interferences, all kind of radio noises, and some changes of station which connect us with other Mona Lisas from different times (Pontchielli’s and of course Da Vinci’s).


The radio emulation is the starting point to develop all kinds of half-valve techniques, singing and playing through the instrument, air sounds, whistles, modulation of the text through the instrument, etc. The valves system of the flügelhorn is more appropriated for this kind of work with voice and text than the trumpet activated by pistons,


The "aerial" medium of the radio frequencies is inspired by the aerial perspective from Da Vinci’s texts.

Collaboration: Amy Horvey


Amy Horvey, has worked internationally with a wide range of performance projects specializing in cutting-edge contemporary music. She studied with, among others, Lou Ranger, Frank London, Vincent Cichowicz, Andre Heuvelman, and Marco Blaauw. In 2004 she won the Jury Prize at the "Link" Music Competition in the Netherlands and in 2005 premiered Philip Matuczewski's Concerto for Trumpet. Amy currently plays trumpet in the Thunder Bay Symphony Orchestra and works as a trumpet instructor at Lakehead University.


Amy has worked with several major symphony orchestras, including the Rotterdam Philharmonic and the Winnipeg Symphony. She has commissioned works from many composers, including Marc Yeats, Cecilia Arditto, Anna Hostman, and Ryan Purchase. Her latest projects include "The Queen of the Music Boxes", a solo performance for trumpet and music boxes inspired by cornet soloist Edna White (1891-1992), and participation in both the 2007 Chosen Vale International Trumpet Seminar and the 2007 Lucerne Festival Academy. She is currently pursuing her Doctorate in Trumpet Performance with Ed Carroll at McGill University.


http://www.amyhorvey.com

 


“Música invisible para trompeta y flügelhorn #1”. The imitation of an old radio is the starting point to develop all kinds of half-valve techniques.

 

#2. Chiaroscuro uses extremely low notes, even below the pedal tone of the Bb trumpet , produced by the lips and amplified by the instrument.


The beauty of these "ugly sounds" is that they are too low in relation to the possibilities of resonance of the instrument being the trumpet not prepared to host such low frequencies in the lowest register of the bass clarinet.


Chiaroscuro: technique employed in the visual arts to represent light and shadow as they define three-dimensional objects.


The contrast in the sound colors is related to chiaroscuro techniques used by Leonardo Da Vinci in his paintings.

"The beauty of these "ugly sounds" is that the real sounds are too low in relation to the frequency of resonance of the instrument...the trumpet should be bigger. This situation makes the sound very weak and fragile, but at the same time extremely poetic".

#3. Anamorphosis explores the possibilities of the trumpet interacting with water. A melody from "La Gioconda" by Pontchielli is progressively transform in a conglomerated of "quasi electronic sound" via the modulation of the water.


In his texts, Da Vinci studies the the reflection of light on water.


Texts by Da Vinci


Música invisible para trompeta y flügelhorn #3.

Water is a natural modulator for the trumpet sound. The effect is a “quasi electronic music”.

 

Música invisible para trompeta - Libro IV  
Invisible music for trumpet - Book IV (2005)
downloadstrompeta2.htmltrompeta2.htmlhttp://livepage.apple.com/shapeimage_8_link_0

The idea of "Música invisible para trompeta" is to re-think the instrument from a different perspective, slightly away from its tradition and its literature. The organology - technical aspects of how instruments produce sound - and the exploration of different acoustical possibilities are the raw material from which the piece is built.

Extended techniques refer to new skills and a work in the boundaries of the tradition of the instrument, but mainly they aim at suggesting different perspectives to the perception.