![]() ![]() Richter writes about his composition | Listen on Spotify. ![]() Organum is a funereal organ solo, Shadow Journal a piece of ambient house, but the centrepiece is On the Nature of Daylight (since used on countless films and TV soundtracks), where ever-expanding layers of strings are used to heart-tugging effect. The song cycle is linked by narration from Tilda Swinton, but the most compelling pieces don’t require words. Written in the run-up to the 2003 invasion of Iraq, The Blue Notebooks is Max Richter’s meditation on violence and war, one that was recorded in three hours. Read our review 21 Max Richter The Blue Notebooks (2004) The results are sparse, rugged and sensual quiet does not have to mean soft. More than any minimalist, she takes her cues from Couperin, Debussy and the paintings of Agnes Martin. Catlin Smith’s music is slow and quiet but it’s also lush. She leaves space around the material to consider it from this way and that, then sinks in deep. ![]() She holds the fabric between the fingers, she tests the fibres. Read our review | Watch the world premiere performance at the Vatican 22 Linda Catlin Smith Piano Quintet (2014) His Stabat Mater for chorus and string orchestra, premiered and commissioned by Harry Christophers and the Sixteen, caught the public imagination, its message direct, immediate, radiant and impassioned. The prolific Scottish composer has made an impact on choral music, by drawing on his Roman Catholic roots, most recently in his Fifth Symphony, Le grand Inconnu, and in his Tenebrae Responsories. Photograph: Mark Allan 23 James MacMillan Stabat Mater (2016) Immediate … the Sixteen and Britten Sinfonia perform Stabat Mater, conducted by Harry Christophers. It was also used in the song "Enigma" from the 1989 album The Spin by the Yellowjackets composed by Russell Ferrante and Jimmy Haslip. The scale was used by guitarist Joe Satriani in his piece "The Enigmatic" from Not of This Earth (1986), Monte Pittman with the song "Missing" on "The Power Of Three", and by pianist Juan María Solare in his piano miniature "Ave Verdi" (2013). Both the fourth and fifth degrees of a scale form the basis of standard chord progressions, which help establish the tonic. The scale lacks a perfect fourth and a perfect fifth above the starting note. With the musical steps as following: Semitone, Tone and a half, Tone, Tone, Tone, Semitone, Semitone. The version of the scale starting on C is as follows: The piece features the scale both in its harmonies and as a cantus firmus throughout the short piece in whole-note values in the bass and then each successively higher voice accompanying, "queer counterpoint which.is far-fetched and difficult of intonation the total effect is almost, if not quite, as musical as it is curious". It has been described as "that still almost incomprehensible into-one-another-gliding of harmonies over the entirely 'unnatural' scala enigmatica". The Gazzetta published several solutions to this “scala-rebus” (scale-puzzle), including one by Crescentini, yet the whole affair might have become obscure had not Italian composer Giuseppe Verdi later composed his own solution, which became the basis of the "Ave Maria (sulla scala enigmatica)" (1889, revised 1898), part of the Quattro Pezzi Sacri (1898). On August 5, 1888, Ricordi’s Gazzetta musicale di Milano challenged its readers to compose a piece that harmonized against this scale. The enigmatic scale was invented by a professor of music at the Bologna Conservatory, Adolfo Crescentini. It was originally published in a Milan journal as a musical challenge, with an invitation to harmonize it in some way. The enigmatic scale ( Italian: scala enigmatica) is an unusual musical scale, with elements of both major and minor scales, as well as the whole-tone scale. Descending enigmatic scale on C is distinguished by F ♮, a lowered fourth degree Play ( help ![]()
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