Located in the UK
Located in the USA
Located in Europe
- Henrik Hellstenius
Fem Avtrykk av Tiden (1994)
(Five Imprints of Time for Saxophone Quartet)- Edition Wilhelm Hansen Copenhagen (World)
Programme Note
The work has five movements, or ”imprints”. Each movement embodies its
own process or development of time. At the end of the piece the listener will
have experienced a sequence of ”times”, in five different ways, and it will
leave impressions of how time is shaped. The five movements are different in
expression, but they have in common contrasts of silence/ stillness, as oppossed
to sound-movement and music.
Movements 2, 3 and 4 are ”about” filling out a void, or silence, with moving
sounds. Imprints no. 1 & 5 are both more static. Movement one is divided
into two parts, with an initial part of not much action, and a second part with
more motion. No. 5 focuses on non-linear episodes of immovable chords in
unison.
The five ”imprints” can be likended to five pictures on a wall at an exhibition.
They are related, but still separate and individual statements. The silences
between the movements – and even within the music itself – are there for the
listener to pay attention to what has passed by in sound. The silences allows
us to meditate on the ”imprints” that the music has created in our minds, and
to make our own sounds in response to what has been heard.
own process or development of time. At the end of the piece the listener will
have experienced a sequence of ”times”, in five different ways, and it will
leave impressions of how time is shaped. The five movements are different in
expression, but they have in common contrasts of silence/ stillness, as oppossed
to sound-movement and music.
Movements 2, 3 and 4 are ”about” filling out a void, or silence, with moving
sounds. Imprints no. 1 & 5 are both more static. Movement one is divided
into two parts, with an initial part of not much action, and a second part with
more motion. No. 5 focuses on non-linear episodes of immovable chords in
unison.
The five ”imprints” can be likended to five pictures on a wall at an exhibition.
They are related, but still separate and individual statements. The silences
between the movements – and even within the music itself – are there for the
listener to pay attention to what has passed by in sound. The silences allows
us to meditate on the ”imprints” that the music has created in our minds, and
to make our own sounds in response to what has been heard.