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Sonata for violoncello

Thomas Larcher (b. 1963)

Natalie Clein (photo credit: Sussie Ahlburg)

Natalie Clein (photo credit: Sussie Ahlburg)

Composer
Thomas Larcher (b. 1963)
Composition Year
2007
Work Movements
1. Flowing
2. Very fast
3. Flowing
Artists
Natalie Clein [cello]

Programme Note Writer:
© Thomas Larcher

I do not compose my pieces for a certain voice range or orchestration, but for musicians, for people. It is almost impossible for me to produce a piece without having a particular person in mind or to hear him/her inwardly.

No matter how standardised the interpretation of classical music is, and no matter how many coordinates have been fixed and defined, I do not want to have them seen as determining and limiting signs, but rather as guideposts towards the creation of vital, organic music. In differentiated music, two participants are necessary in order for a piece to evolve – the composer and the musician.

Just as there is no one way for a composer to express himself or to notate music, neither is there one way for a musician to read the notation or to interpret it. For this reason we find ourselves in a network of meanings, gestures and signs which have to be fathomed and expanded together. The tone, the breath, the gestures, the dedication and the potential of a musician were ultimately decisive for the form of the piece. It is music which pushes the expressive and technical possibilities of the instrument to its very limits. It is music in which the musician has to transport the contexts and expression over and above the notation.

It was not necessary for me to find a new form for this piece; it is a work which can and should be performed in a normal concert situation. I deliberately wanted to integrate the perhaps new and unusual content into a familiar form. And I also wanted to embed the aforementioned extreme situations (where the technical extremes are synonyms for tension, isolation, loss or tenderness) in an organic process so the listener can empathise with and comprehend what is expressed in the piece.

I would like to thank Natalie Clein, to whom the Sonata is dedicated, for inspiring this piece and for the path that led to the realisation of the music.

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Sonata for violoncello

Composer: Thomas Larcher (b. 1963)
Performance date: Sunday 1st July 2012
Venue: Bantry House Library, Bantry, Co. Cork, Ireland,

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Composer Thomas Larcher (b. 1963)
Work Title Sonata for violoncello
Composition Year 2007
Work Movements 1. Flowing
2. Very fast
3. Flowing
Artist(s) Natalie Clein [cello]
Performance Date Sunday 1st July 2012
Performance Venue Bantry House Library, Bantry, Co. Cork, Ireland,
Event Main Evening Concert
Duration 00:13:40
Recording Engineer Anton Timoney, RTÉ lyric fm
Instrumentation Category Solo
Instrumentation vc
Programme Note Writer © Thomas Larcher

I do not compose my pieces for a certain voice range or orchestration, but for musicians, for people. It is almost impossible for me to produce a piece without having a particular person in mind or to hear him/her inwardly.

No matter how standardised the interpretation of classical music is, and no matter how many coordinates have been fixed and defined, I do not want to have them seen as determining and limiting signs, but rather as guideposts towards the creation of vital, organic music. In differentiated music, two participants are necessary in order for a piece to evolve – the composer and the musician.

Just as there is no one way for a composer to express himself or to notate music, neither is there one way for a musician to read the notation or to interpret it. For this reason we find ourselves in a network of meanings, gestures and signs which have to be fathomed and expanded together. The tone, the breath, the gestures, the dedication and the potential of a musician were ultimately decisive for the form of the piece. It is music which pushes the expressive and technical possibilities of the instrument to its very limits. It is music in which the musician has to transport the contexts and expression over and above the notation.

It was not necessary for me to find a new form for this piece; it is a work which can and should be performed in a normal concert situation. I deliberately wanted to integrate the perhaps new and unusual content into a familiar form. And I also wanted to embed the aforementioned extreme situations (where the technical extremes are synonyms for tension, isolation, loss or tenderness) in an organic process so the listener can empathise with and comprehend what is expressed in the piece.

I would like to thank Natalie Clein, to whom the Sonata is dedicated, for inspiring this piece and for the path that led to the realisation of the music.