The Black River Gavin Bryars

Titel (DE): The Black River - text from "20,000 Leagues under the Sea" by Jules Verne
Titel (EN): The Black River - text from "20,000 Leagues under the Sea" by Jules Verne
Titel (FR): The Black River - text from "20,000 Leagues under the Sea" by Jules Verne
Komponist / Composer: Bryars, Gavin
Herausgeber / Editor:
Bearbeiter / Arranger:
Illustrator:
Opus:
Werkverzeichnis:
Besetzung / Instrumentation: Sopran und Orgel / soprano and organ
Besetzungsdetails:
Kompositionsjahr / Date of Composition: 1991
Aufführungsdauer / Duration: 15'
Verlag / Publisher: Schott Music Ltd., London
Erscheindungsdatum / Date of Publishing: 29.02.1996
Ausgabe / Publication: Partitur - Score -
- - -
Seiten / Pages: 20
Verarbeitung: -
Schwierigkeitsgrad / Difficulty: fortgeschritten - advanced - avancé
Sprache / Language: Englisch
Reihe / Series:
ISMN: M-2201-1755-8
ISMN-13: 979-0-2201-1755-8
ISMN-EAN: 9790220117558
UPC:

This piece is one of a series of works that take texts or imagery from the work of Jules Verne. Here the text is taken from 20,000 Leagues under the Sea, a section in which Professor Aronnax describes the scene outside the Nautilus where countless varieties of sea-creatures escort the submarine along the current of the mysterious underwater Black River. Coincidentally the first work that I wrote using Verne as a source, the cantata Effarene (1984), sets an earlier portion of the same chapter for its closing movement and I find the objectivity and invention of Verne's language a constant stimulus. As Raymond Queneau said of Verne: "What a style! Nothing but nouns." The piece was written for a concert given by the organist Christopher Bowers-Broadbent at Leicester Cathedral in January 1991 and later recorded by him with soprano Sarah Leonard for ECM New Series in 1993. Gavin Bryars.

[FR]
This piece is one of a series of works that take texts or imagery from the work of Jules Verne. Here the text is taken from 20,000 Leagues under the Sea, a section in which Professor Aronnax describes the scene outside the Nautilus where countless varieties of sea-creatures escort the submarine along the current of the mysterious underwater Black River. Coincidentally the first work that I wrote using Verne as a source, the cantata Effarene (1984), sets an earlier portion of the same chapter for its closing movement and I find the objectivity and invention of Verne's language a constant stimulus. As Raymond Queneau said of Verne: "What a style! Nothing but nouns." The piece was written for a concert given by the organist Christopher Bowers-Broadbent at Leicester Cathedral in January 1991 and later recorded by him with soprano Sarah Leonard for ECM New Series in 1993. Gavin Bryars.