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la petite girafe Miscellaneous

Pentathlon

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The little giraffe finds a new friend.

Pentathlon —
A story with the little giraffe

It’s about time to introduce a new figure: Fünffusssaurus. For reasons too obvious to mention we will not translate this into English. Fünffussaurus was purchased a while ago for ten-something at an online store. Before it was mounted—guarded by the severe look of the little giraffe—it remained quarantined for some days, just to be sure LPG doesn’t contract the dragon’s flue (which would be unimaginably frightening). As every construction kit is delivered with some extra building blocks, I chose to deviate a little from the construction manual; hence the name. Originally this was meant to be a dragon, but now it rather looks like a worm, though. A wyvern without wings. A lindworm-centipede-crossbreed. Whatsoever.

Locking horns

Once ready to become subject to this very blog, we’d like to get to know to our new figure a little bit closer. Let’s stage a competition and see which tiny beast performs better, Fünffusssaurus or the local heroine, LPG. There are five categories—quasi the pentathlon for the pipsqueaks—in which Fünffusssaurus will challenge the little giraffe: Height, width, flexibility, fragility and popularity. Let’s start with the first match.

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Who’s taller?
Height

Let’s face it: giraffes are known to be … tall. There is no chance for Fünffusssaurus of winning this stage, is there? Have a look at the picture. While Fünffusssaurus keeps struggling with mother gravity to gain some extra inches, LPG is stablest when raising her nose up to the skies. A clear point for the crowd favourite.

Preliminary result:
 (1)
 (0)

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Who’s longer?
Width

Fünffusssaurus captures a very decisive victory. If we look at the image, LPG measures 2.5 inches from ground to ground, whereas FFFSSS exceeds the range of the meter. Frankly, it was rather challenging to somehow fit FFFSSS into the meter. Other than that, the little giraffe reaches from the Yangtze River to the Amur River, but FFFSSS spreads all over the EU, Russia, Kazakhstan and Africa as well.

Preliminary result:
   (1)
   (1)

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Who’s more flexible?
Flexibility

Let’s see, which of the two has a more dislocatable body and is overall more flexible. We already know that the little giraffe is very flexible. But how about FFFSSS? Let’s get down to it and count their joints. The little giraffe comes up with three ball-and-socket joints, all of them are sited at its neck. However, FFFSSS boasts about its tremendous amount of eleven such joints. Apart from that, also its feet are movable, no less than its tail and its horns. Thus, there is no need to dispute who’s gonna win this round, just have a look at the picture to verify the results.

Fragility

It is self-evident that LPG is rather fragile than indestructible. However, the same is true of our new friend, FFFSSS. We might count all possible items of each character that are likely to get lost. We might also take into consideration that the little giraffe is so fragile, it can’t even stand at all, once one of its legs is broken again. We might also observe, that FFFSSS has five feet that stick together but loosely whereas its underjaw is keen to fall off like a denture at any moment. I would like not to declare LPG or FFFSSS the winner of this match, though, for both competitors are just way too fragile to make a call. It’s a draw.

Giraffes are popular.
Popularity

Finally when it gets down to popularity, the little giraffe remains undefeatable thus far. FFFSSS has not recieved fanpost yet, whereas LPG has (indeed!). Giraffes are somewhat popular animals and when people see that they are occasionally fed to the lions in a zoo in Copenhagen for instance, many people get upset easily. As for FFFSSS, the popularity of a hitherto undiscovered species is undefined or null.

Categories
la petite girafe Miscellaneous

La photo: La maladie

Oh no! Is it sick?
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Miscellaneous News

Becoming an UE composer

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I’m very pleased to announce that henceforth works of mine are being published by Universal Edition. It’s a great honour to have become a part of the word’s best music publishing house’s edition. Please feel free to dive into the UE catalogue. Thus far, you can find my works for orchestra/ensemble «L’isola morta», «Catalogue des Arts et Métiers», «Échos éloquents», «Marley’s Ghost», the string quartet «Epitaph for Ovid Naso» and the first book of the album «XXI Oracles Of The Night» for piano there.

Works of Christoph Renhart on Universal Edition

As it is essential for every composer that his or her music is available world-wide, it is a privilege to have a strong partner who takes care of production, distribution, licensing, and invoicing (1). Many of the best composers of the 20th and 21st century—Pierr Boulez, Friedrich Cerha or György Kurtág amongst them—have entrusted their music to UE. The publisher’s quality standards are known to be high in all regards. Even as a young pianist, before I have thought about becoming a professional composer, I did appreciate the perfect graphics and layouts of UE scores. When it gets down to contemporary music, UE scores stand out here even more noticably. Being a perfectionist myself, I’ll do my very best to contribute to this great Viennese tradition, musically and graphically.

Into 21st-century music publishing: scodo

Over the recent years and especially due to digitalisation, the way how new compositions are delivered to the musicians has changed significantly. More and more ensembles do not use printed scores and parts any longer and play everything from a tablet. Other musicians have tried out digital scores but still prefer the paper editions for various reasons. What really matters today is flexibility. Along the lines of responsive web design, sheet music has to be responsive in some ways as well (perhaps, we’ll see some really, i.e. technically responsive scores in the near future written in musicXML or something similar, that’s yet to come). Now, one of the reasons I contracted with Universal Edition is that they really care about the future and they find good answers to today’s challenges. One such an answer is a new publishing tool for composers called scodo.

Have a look at UE’s new publishing tool scodo.

scodo is designed for composers to upload their works and publish them directly. Composers retain the copyright of their works whereas Universal Edition obtains the exclusive distribution rights. A very nice feature of scodo is also the possibility of quickly updating a work. We all know how Ravel struggled to remove all the happy little accidents from his early editions (and indeed it took him a little longer than the late Bob Ross to create his pieces). So, this goes a little quicker with scodo. Found a missing p at the rehearsal or want to change a b natural in the oboe in bar 543 to a b flat? Just upload the latest version. It’s so useful for composers and this feature by itself will improve the quality of the performing materials of many scores remarkably.

It goes without saying that scores and materials can be ordered either in printed form or in a digital version via UE now (UE has won the ‘digital publishing award‘ for this tool recently). And—in high contrast to sending the performance materials to ensembles just by email—composers can get money for their works, while they remain distributable in a digital form. If you’re interested in publishing your scores via scodo or if you’d like to find out more concerning the business modell, visit the scodo page at UE’s website: universaledition.com/scodo