Located in the UK
Located in the USA
Located in Europe
- Niels Rosing-Schow
Peinture du temps (2004)
(Painting of Time)- Edition Wilhelm Hansen Copenhagen (World)
Programme Note
Time is the dimension of music and musical form can generally be described as a number of time segments of varied quality of experience. Metaphors from visual impressions, impressions of space and sense perception are often used to describe musical impressions. For example, we talk of "a bright tone", "high" and "low" notes, or a "cutting" dissonance.
In the quintet Peinture du temps (painting of time or time painting) I have, in terms of the formation of the quality of time segments, moved to a deeper level than the mere inspiration from light and colour metaphor. There are striking parallels: white light is the mix of all colours - white noise is the presence of all frequencies, a colour is defined by its wavelength - a timbre is defined by a set of frequencies in an ordered relation; one actually speaks of the ‘spectrum’ of the sound.
In Peinture du temps one finds the ‘pure’, harmonic centre and six different distorted, inharmonic spectres (three compressed and three dilated spectres) each in its own transposition. These spectres (colours) appear in different concentrations and patterns, sometimes turning into noise (white). The musical memory - the recollection - is the canvas on which the music - time - paints its picture.
Niels Rosing-Schow
In the quintet Peinture du temps (painting of time or time painting) I have, in terms of the formation of the quality of time segments, moved to a deeper level than the mere inspiration from light and colour metaphor. There are striking parallels: white light is the mix of all colours - white noise is the presence of all frequencies, a colour is defined by its wavelength - a timbre is defined by a set of frequencies in an ordered relation; one actually speaks of the ‘spectrum’ of the sound.
In Peinture du temps one finds the ‘pure’, harmonic centre and six different distorted, inharmonic spectres (three compressed and three dilated spectres) each in its own transposition. These spectres (colours) appear in different concentrations and patterns, sometimes turning into noise (white). The musical memory - the recollection - is the canvas on which the music - time - paints its picture.
Niels Rosing-Schow