{"id":103,"date":"2016-01-11T22:54:40","date_gmt":"2016-01-11T21:54:40","guid":{"rendered":"https:\/\/www.chrenhart.eu\/2021\/?p=103"},"modified":"2021-06-27T12:19:48","modified_gmt":"2021-06-27T10:19:48","slug":"miroirs-noirs","status":"publish","type":"post","link":"https:\/\/www.chrenhart.eu\/2021\/2016\/01\/11\/miroirs-noirs\/","title":{"rendered":"miroirs noirs"},"content":{"rendered":"\n<div class=\"wp-block-group alignfull has-primary-background-color has-background\"><div class=\"wp-block-group__inner-container is-layout-flow wp-block-group-is-layout-flow\">\n<figure class=\"wp-block-embed alignwide is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-4-3 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe loading=\"lazy\" title=\"miroirs noirs (Teil 1)\" width=\"580\" height=\"435\" src=\"https:\/\/www.youtube.com\/embed\/CVMvvrG-Gjg?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<\/div><figcaption>miroirs noirs | Klangforum Wien | Clement Power (conductor)<\/figcaption><\/figure>\n<\/div><\/div>\n\n\n\n<h4 class=\"wp-block-heading\">miroirs noirs<br>for ensemble (2016)<\/h4>\n\n\n\n<h6 class=\"wp-block-heading\">English<\/h6>\n\n\n\n<p>Within the silky matt black of a level surface, gestures and movements tumble about like lost moths against a glass wall. They are pale forms without contours whose outline can only be intuited as shadows. The silhouettes of these \u201cdis-mirrored\u201d objects, which have previously remained obscure, convey an intimation of their actual shape, appearing like blurred memories.In miroirs noirs such indistinct echoes are encountered in many moments. Figures that are instantaneously reflected seem closer, whereas the counter-image of more extended processes become discernible only in time.<\/p>\n\n\n\n<p>In my piece I wanted to create a perspective of recollection. At the same time, the sea of past gestures and fragments forms a stream whose course follows a predetermined dramaturgical concept. In a striking plunge, the piece collapses at the zenith of a long, eruptive phase even before it has passed its midway point.<\/p>\n\n\n\n<p>During the following sequences the piece repeatedly resumes its course directed towards the summit, but nonetheless it continually loses height. Informed by thoughts from the past and pulverised by the cataracts of time, it persistently takes its course towards a final low point \u2013 amidst a desert of dust the stream runs dry in the estuary of its memories.<\/p>\n\n\n\n<p>miroirs noirs was written between January and June 2016. The piece itself is a blurred counter-image to my work \u00c9chos \u00e9loquents, which was created at the same time as miroirs noirs. Both pieces draw on their material \u2013 like two sibling volcanoes \u2013 from a single magma chamber. (Christoph Renhart, 2016)<\/p>\n\n\n\n<p>This work was commissioned by Ailin Huang \/ Internationale Musikbr\u00fccke association.<\/p>\n\n\n\n<h6 class=\"wp-block-heading\">German<\/h6>\n\n\n\n<p>Im seidenmatten Schwarz einer planen Oberfl\u00e4che tummeln sich Gesten und Bewegungen wie verirrte Nachtfalter an einer Glaswand. Es sind fahle Formen ohne Kontur, deren Umrisse sich nur als Schatten erahnen lassen. Die Silhouetten jener zerspiegelten Objekte, welche davor im Obskuren verharren, vermitteln eine Ahnung ihrer eigentlichen Gestalt, einer unscharfen Erinnerung gleichend. In \u00bbmiroirs noirs\u00ab begegnen wir diesen verschwommenen Echos in vielen Momenten. Figuren, die unmittelbar zur\u00fcckgeworfen werden erscheinen n\u00e4her, w\u00e4hrend das Gegenbild l\u00e4ngerer Prozesse erst im Lauf der Zeit erkennbar wird.<\/p>\n\n\n\n<p>Ich wollte in meinem Werk eine Perspektive der Erinnerung schaffen. Gleichzeitig formt sich aus dem Meer verflossener Gesten und Fragmente ein Strom, dessen Flusslauf einem vorgezeichneten dramaturgischen Plan folgt. Markant st\u00fcrzt das St\u00fcck am Zenit einer langen eruptiven Phase in sich zusammen, noch bevor es seine Mitte \u00fcberschreitet.<\/p>\n\n\n\n<p>In den weiteren Abschnitten nimmt das St\u00fcck mehrmals den zum Gipfel weisenden Kurs wieder auf, verliert jedoch unaufhaltsam an H\u00f6he. Durch die Gedanken aus dem Vergangenen gepr\u00e4gt und zerrieben in den Katarakten der Zeit steuert es unentwegt einem finalen Tiefpunkt zu: Inmitten einer W\u00fcste aus Staub versiegt der Strom im \u00c4stuar seiner Erinnerungen.<\/p>\n\n\n\n<p>\u00bbmiroirs noirs\u00ab entstand zwischen J\u00e4nner und Juni 2016. Das St\u00fcck ist selbst ein unscharfes Gegenbild zu meinem Werk \u00bb\u00c9chos \u00e9loquents\u00ab, welches parallel zu \u00bbmiroirs noirs\u00ab entstand. Beide Werke sch\u00f6pfen ihr Material, wie zwei verschwisterte Vulkane, aus einer Magmakammer. \u2014 ChR, E\u201816<\/p>\n\n\n\n<p>Dieses Werk entstand im Auftrag von Ailin Huang \/ Verein Internationale Musikbr\u00fccke.<\/p>\n\n\n\n<div class=\"wp-block-group alignfull boxtxt has-accent-background-color has-background\"><div class=\"wp-block-group__inner-container is-layout-flow wp-block-group-is-layout-flow\">\n<p>INSTRUMENTATION:<br>flute, clarinet in Bb (bass clarinet), horn, percussion (1 player), piano, pipa, erhu (or: violin), violin, viola, violoncello<\/p>\n\n\n\n<p>PERCUSSION INSTRUMENTS:<br>tubular bells, glockenspiel, gongs, vibraphone, timpani<\/p>\n\n\n\n<p>DURATION:<br>12 minutes<\/p>\n\n\n\n<p>PERFORMANCE MATERIAL:<br>info@chrenhart.eu<\/p>\n\n\n\n<p>PREMIERE:<br>October 31, 2016&nbsp;\u2022 Vienna, Konzerthaus \u2022 Klangforum Wien \u2022 Clement Power, conductor \u2022 Pai Ju Tsai, pipa<\/p>\n\n\n\n<p>PERFORMANCE:<br>January 22, 2018&nbsp;\u2022 Radio \u00d61, Zeit-Ton \u2022 Klangforum Wien \u2022 Clement Power, conductor \u2022 Pai Ju Tsai, pipa<\/p>\n<\/div><\/div>\n","protected":false},"excerpt":{"rendered":"<p>for 10 players (2016): flute, clarinet in Bb (bass clarinet), horn, percussion (1 player), piano, pipa, erhu (or: violin), violin, viola, violoncello<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"pgc_sgb_lightbox_settings":"","footnotes":""},"categories":[23,2],"tags":[59,95,98,66,97,67,96,68],"class_list":["post-103","post","type-post","status-publish","format-standard","hentry","category-ensemble","category-work","tag-59","tag-ailin-huang","tag-clement-power","tag-internationale-musikbruecke","tag-klangforum-wien","tag-konzerthaus","tag-pei-ju-tsai","tag-wien"],"_links":{"self":[{"href":"https:\/\/www.chrenhart.eu\/2021\/wp-json\/wp\/v2\/posts\/103","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.chrenhart.eu\/2021\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.chrenhart.eu\/2021\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.chrenhart.eu\/2021\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.chrenhart.eu\/2021\/wp-json\/wp\/v2\/comments?post=103"}],"version-history":[{"count":4,"href":"https:\/\/www.chrenhart.eu\/2021\/wp-json\/wp\/v2\/posts\/103\/revisions"}],"predecessor-version":[{"id":1607,"href":"https:\/\/www.chrenhart.eu\/2021\/wp-json\/wp\/v2\/posts\/103\/revisions\/1607"}],"wp:attachment":[{"href":"https:\/\/www.chrenhart.eu\/2021\/wp-json\/wp\/v2\/media?parent=103"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.chrenhart.eu\/2021\/wp-json\/wp\/v2\/categories?post=103"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.chrenhart.eu\/2021\/wp-json\/wp\/v2\/tags?post=103"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}