Diehnelt: Stile Antico for 5-voice cello ensemble by Kim Diehnelt String Orchestra - Digital Sheet Music
By Kim Diehnelt
21182429
Diehnelt: Stile Antico for 5-voice cello ensemble
21182429
21182429
21182429
Details
String Ensemble, String Quintet Cello - Level 5 - Digital Download
SKU: A0.809059
Composed by Kim Diehnelt. This edition: audio, pdf, streaming. Baroque, Concert, Contemporary. 10 pages. Kim Diehnelt #4350647. Published by Kim Diehnelt (A0.809059).Stile Antico: On a theme of Palestrina (2012) for 5-voice cello ensemble
The title Stile Antico refers a style of musical composition from the 16th century which was often employed in church music, because it allowed the words (sacred text) of each singer to be clearly heard. This pre-classical polyphony was many-voiced and without instrumental accompaniment.
Inspired by a theme from a mass by Giovanni Pierluigi da Palestrina (c. 1525 – 1594) ‘Praestet hoc nati genitor, I present a modern cello ensemble rendition of this ‘ancient style.’
Most conspicuous of the work’s attributes is the use of time. Rather than moving the musical ideas and themes towards a goal or through structural development and a sense of progress, the music (and time) unfolds perhaps as the natural swing of a pendulum; neither clinging to a past, nor anticipating a future. The listener beholds one moment continuously being reshaped through sound.
Also, the concepts of melody and harmony as we assume them today are blurred. Of the five players, no one has the melody, no one has the harmony, yet together the ensemble combines to create a continuous flux of melodic-harmony (or harmonic-melody). This idea is of another type of ‘stile antico.’ Within the ideas of alchemy, which richly influenced the music of the 16th century and beyond, exists the concept that "one plus one equals three." That is, two objects also create a ‘between-ness.’ So too with musical voices; the combination of two voices creates a new between-ness. Through out this work the individual cellists create a continuously shifting canvas of ‘between-ness.’ The music and the performers ask for a renewed perception of the many between-nesses of our present moment.
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(c) 2012 (ASCAP)
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