Twittering Machine #3 : Redux - the doomsday machine

• Twittering Machine #3 is the third composition Lars Bröndum has composed which is inspired by Paul Klee’s painting Die Zwitscher-Maschine (Twittering Machine). The composition was completed in 2017 and was rearranged in 2018 for a slightly smaller orchestra (thus the added title “redux”). The piece was chosen in a call for works by a committee of representatives from Jönköping Sinfonia in conjunction with Kungliga Musikaliska Akademien (Swedish Royal Accademy) och Svensk Musik for a performance by the Jönköping Sinfonietta 27 April, 2018.Bröndum has written three compositions based on the Klee painting Die Zwitscher-Maschine. The three “Machines” are varied in some aspects, such as, harmony, melodies and instrumentation but are very similar in form.  It is as if the machine is cranked up and sounding slightly different several years apart. Conceptually the sound may vary slightly because the mechanics has deteriorated or maybe have been repaired or because of mechanical errors. In the third twittering machine Bröndum was imagining a giant doomsday bird machine being cranked up creating a cacophony of sound.  The first two twittering machines are free in tempo at sections, but the third twittering machine is strict in tempo like a military machine.Twittering Machine #3 is subtitled “Doomsday Machine” and is dedicated to Alfred Hitchcock as a reference to his classic movie Birds (1963).  The composition is similar to the movie - a menacing and foreboding piece. There is also a subtle reference to Donald Trump’s uncontrolled Tweets that very likely could cause the doomsday. It is scored for Flute, Oboe, English Horn, Clarinet in Bb, Bass Clarinet, Contrabassoon, Horn in F 1, Horn in F 2, Trumpet in C 1, Trumpet in C 2, Trombone 1, Tuba, Piano, violin I, Violin II, Viola, Cello, Contrabass.Musical influences and inspiration for this work can be found in Oliver Messiaen’s bird calls found in pieces like Chronochromie (1960) for orchestra and György Ligeti’s cluster techniques in works such as Athmospheres (1961) and Chamber Concerto Music for 13 Instruments (1969/70). I also use indeterminate ideas pioneered by John Cage and Pierre Boulez.

• Twittering Machine #3 is the third composition Lars Bröndum has composed which is inspired by Paul Klee’s painting Die Zwitscher-Maschine (Twittering Machine). The composition was completed in 2017 and was rearranged in 2018 for a slightly smaller orchestra (thus the added title “redux”). The piece was chosen in a call for works by a committee of representatives from Jönköping Sinfonia in conjunction with Kungliga Musikaliska Akademien (Swedish Royal Accademy) och Svensk Musik for a performance by the Jönköping Sinfonietta 27 April, 2018.Bröndum has written three compositions based on the Klee painting Die Zwitscher-Maschine. The three “Machines” are varied in some aspects, such as, harmony, melodies and instrumentation but are very similar in form.  It is as if the machine is cranked up and sounding slightly different several years apart. Conceptually the sound may vary slightly because the mechanics has deteriorated or maybe have been repaired or because of mechanical errors. In the third twittering machine Bröndum was imagining a giant doomsday bird machine being cranked up creating a cacophony of sound.  The first two twittering machines are free in tempo at sections, but the third twittering machine is strict in tempo like a military machine.Twittering Machine #3 is subtitled “Doomsday Machine” and is dedicated to Alfred Hitchcock as a reference to his classic movie Birds (1963).  The composition is similar to the movie - a menacing and foreboding piece. There is also a subtle reference to Donald Trump’s uncontrolled Tweets that very likely could cause the doomsday. It is scored for Flute, Oboe, English Horn, Clarinet in Bb, Bass Clarinet, Contrabassoon, Horn in F 1, Horn in F 2, Trumpet in C 1, Trumpet in C 2, Trombone 1, Tuba, Piano, violin I, Violin II, Viola, Cello, Contrabass.Musical influences and inspiration for this work can be found in Oliver Messiaen’s bird calls found in pieces like Chronochromie (1960) for orchestra and György Ligeti’s cluster techniques in works such as Athmospheres (1961) and Chamber Concerto Music for 13 Instruments (1969/70). I also use indeterminate ideas pioneered by John Cage and Pierre Boulez.

Ämnesord

HUMANIORA  -- Konst -- Musik (hsv//swe)

HUMANITIES  -- Arts -- Music (hsv//eng)

Nyckelord

contemporary music

cluster

orchestra

Media, Technology and Culture (MTEC)

Media, Technology and Culture (MTEC)

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