Interlúdio 2

Luis Cardoso (1972)

Ref. ava080205

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Interlúdio 2

 Fl/Fl Sol, Ob/C Ing, Cl Sib, Fag, Trp Fá, Tpt Dó, Tbn, Perc, Pno, Strings

Interlude 2, for ensemble (2008) is the second of a total of three pieces that I write as a Young Composer, Resident at Casa da Música during the year 2008.

As with the first piece – Interlude 1, for full orchestra (2007) –, this piece was inspired by musical material from the opera Tristan, a composition which engaged me from June 2006 to September 2007 and to which, in due time, I plan to return to conclude.

Yet, unlike Interlude 1, whose kinship with Tristan, though intimate, is not immediately perceptible  – since only the interval material, mostly harmonic, originates from the opera –, he who hears Interlude 2  and then listens to Tristan, will promptly realize the intimate relation between them both, so similar are the pieces.

It becomes now necessary, to briefly explain some of the procedures used in Tristan –already experimented by me in the small chamber opera, Antígona (2006) – for a dramatic-musical definition of the characters. Each one of them is characterized by the use of a limited group of intervals in its melodic writing, and in the definition of the harmonic atmosphere over which their melodies develop.

The melodies are also characterized by their major or minor fluency, mostly determined by the tempo, the rhythm and the agogic. Associated to these melodic-harmonic natured procedures, a trimbric-orquestral space is defined for each one of the characters: in effect, each one is associated to a particular instrument, or combination of instruments, and to a specific way of sound emission. For instance, the first character in scene, in Tristan  – the Shoemaker – is associated to the English horn and the marimba, accompanied by the remaining double reeds and by the strings in pizzicato or with a poco sul ponticello bow; the tempo is lively and it’s melodies tend to be more marcato than sostenutoReturning to Interlude 2, I would describe it as being the parade of the majority of the characters in Tristan, here sequenced not according to the dramatic structure in the opera, but determined by their harmonic affinities.

Some arise, musically materialized in a very similar way to their execution in Tristan, for instance, through the almost literal quoting of a melody, however, over a distinct harmonic base; the others are performed through the same procedures as those used in Tristan, without resource to any kind of quoting.In view of the above, I believe I may say that Interlude 2 gathers all of the characteristics of a putative Overture of the Tristan opera.

The piece ends, similarly to Interlude 1, with a coda, in which a recapitulation of the harmonic progression, thus establishes a clear connection between these two pieces.

There were 1 recent performances of this work:

Remix Ensemble CdM, directed by Pedro Neves
12-05-2015 · 19:30 | Fundação Casa da Música More information