Tre Studii (Gotham, Mark)
| Movements/SectionsMov'ts/Sec's | 3 studies |
|---|---|
| Composition Year | 2009 |
| Genre Categories | Studies; For violin; Scores featuring the violin; For 1 player |
Sheet Music
Scores
Complete Score
*#562030 - 0.26MB, 5 pp. - (-) - !N/!N/!N - 81×⇩ - MarkGotham
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MarkGotham (2019/2/18)
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General Information
| Work Title | Tre Studii |
|---|---|
| Alternative. Title | |
| Composer | Gotham, Mark |
| I-Catalogue NumberI-Cat. No. | IMG 16 |
| Movements/SectionsMov'ts/Sec's | 3 studies:
|
| Year/Date of CompositionY/D of Comp. | 2009 |
| First Performance. | 2009/06/01 |
| Dedication | ‘Tre Studii’ was written as the RNCM’s request for their ‘Gold Medal’ weekend, 2009. Anya Muston gave the first performances at the Royal Northern College of Music, Manchester; and the ‘Cantiere Internazionale d’Arte’ Festival in Montepulciano, Italy, in June 2009. |
| Average DurationAvg. Duration | 8 minutes |
| Composer Time PeriodComp. Period | Modern |
| Piece Style | Modern |
| Instrumentation | violin |
‘Tre Studii’ is a set of three compositional studies of acoustical facts and violin technique. The movements are closely related in their design and run consecutively, without pause. Aperto (open) is an Italian term rich in musical and extra-musical associations. Here it primarily puns on the fact that it is the opening movement (as in the ‘Allegro Aperto’ movements of Mozart and others) and is a study of natural harmonics available on the open strings.
The second movement is a study of ‘combination’ or ‘Tartini-’ tones. The movement begins with the simple interval of a perfect fifth. These two original pitches generate two more, and the process continues using every possible pairings of the pitches generated up to and including those of the fourth order.
Quinta perfetta, perfetto ciclo (perfect fifth, perfect cycle) is a more rhapsodic movement that consolidates the technique of the two that precede it. Beginning with the same perfect fifth as the other movements, it works its way outwards, this time by introducing new pitches according to the cycle of fifths in both directions. All 12 pitches are introduced before the cycles overlap at the climax after which a reprise of the first musical idea is paired with a reduction not only of the number of pitches available but also of the dynamic and registral range to bring the work to a close.
