The new music was extremely subtle in its use of timbre: the saxophone breaking in, squeezing out the juice of dreams, or the trumpet, dramatic or languorous by turns, the clarinet, frequently played in its upper register, the lyrical use of the trombone, glancing with its slide over quarter-tones in crescendos of volume and pitch, thus intensifying the feeling; and the whole, so various yet not disparate, held together by the piano and subtly punctuated by the complex rhythms of the percussion, a kind of inner beat, the vital pulse of the rhythmic life of the music. The constant use of syncopation in the melody was of such contrapuntal freedom that it gave the impression of unregulated improvisation, whereas in actual fact, it was elaborately rehearsed daily, down to the last detail. I had the idea of using these timbres and rhythms in a work of chamber music, but I first had to penetrate more deeply into the arcana of this new musical form, whose technique still baffled me. - Darius Milhaud https://youtube/watch?v=X6NvAyaRNQU
Posted on: Thu, 22 Jan 2015 01:47:29 +0000
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