for bass flute
£9.99 – £14.99
for bass flute
|Year of Composition||2020|
|Categories (all composers)||Bass Flute, Flute, Woodwind|
This composition is dedicated to the English flute player Carla Rees, a leading performer of the new flute music. The language used in Mirror for bass flute is strongly influenced by the composer’s studies of spectral techniques, such as additive synthesis.
Through this peculiar sound synthesis technique used in electronic music, antithetical to subtractive synthesis, it is possible to create special tonal and complex waveforms by adding together individual and generally sinusoidal waves.
The compositional system of this piece is based on a scale of 36 heights, in which the chromatic total of 12 semitones, is added to 24 non-tempered pitches. In musical writing Venturi makes great use of harmonic and multiphonic sounds, highly effective on the bass flute and particular instrumental positions, which often transform the instrument timbre into a kind of acousmatic voice.
Lyrical elements alternate with virtuosic figurations in which the transfigured flute tonally becomes very similar to a percussion instrument. To obtain these sonorities, the player uses various types of slaps, blows of breath and other performance techniques, partly borrowed from the musical avant-gardes of the last century. However, they are always revisited by the composer in a lyrical tone. Many sonorities present in this composition are also influenced by those of Italian folk songs.
From a formal point of view, like in most of Venturi’s compositions, there is the idea of creating new musical and often unconventional forms, while using classical time indications such as Andante calmo. Finally, many of the compositional techniques are borrowed from the mosaic technique, that is the ancient technique of pictorial composition obtained with fragments of materials.