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EN: The eleventh power of an symphony orchestra.
Trilling Trills (TT) is a search for an answer to the question about what the trill is and what does the trilling mean. More precisely asked, what could be still count as a trill and where are the bounds of the trilling? The statement that the trill is an interchanging of two notes perhaps doesn't put up a strong resistance. However another subquestions are showing up: What is the maximal distance between the notes formed a trill? How many times minimally should they change? How fast? Must they be of the same length, the same articulation, …?
TT concerns the connections among the musical form, the phrase and the motif as well, by total cancellation of the lines which determine them. So it enables, that TT appears to be 1-section, 2-section, 4-section, 8-section, 16-section, 32-section, 64-section, 128-section, 256-section, 512-section and 1024-section composition, all at once. To this effect this score will be certainly a tasty dish for an enthusiastic music analyst.
However, above all by effective rhythm and orchestra gradation built on the easy timpani bone, TT offers a musical adventure for crowds of audience too. This heavy swell of dynamics and expression in the moment of its apogee throws into the audience attention the first "normal" trill in the classical sense of this word. Finally, in the short fade out of the composition, just this trill is getting to be certain pseudo-winner which beats the experimental meanderings of the author, or rather, it beats the symptoms of chance of his resignation even to himself.
In explanation of the subtitle of the composition I can initiate that it's about the trilling of trills (both terms in their broad researcherly intended meanings), on which notes other trills are trilled, on which notes other trills are trilled, on which notes other trills are trilled, on which notes other trills are trilled, on which notes other trills are trilled, on which notes other trills are trilled, on which notes other trills are trilled, on which notes other trills are trilled, on which notes other trills are trilled, on which notes other trills are trilled, which have just such a little time-space that something like a melody comes into being on them.
SK: Trilkovanie trilkov | Jedenasta mocnina symfonickeho orchestra.
Trilling Trills (TT) je hladanim odpovede na otazku, co je to trilok a co sa chape pod pojmom trilkovanie. Presnejsie opytane, co sa este da pokladat za trilok a kde su hranice trilkovania? Tvrdenie, ze trilok je striedanie dvoch tonov by azda nemalo narazit na vaznejsi odpor. Vynaraju sa vsak dalsie podotazky: Ako daleko od seba mozu byt tony tvoriace trilok? Kolkokrat sa musia oba tony vystriedat, aby bolo mozne hovorit o trilku? Ako rychlo by sa mali tony striedat? Musia mat oba tony rovnaku dlzku, rovnaku artikulaciu, …?
TT riesi aj vztah formy, frazy a motivu, a to uplnym zotrenim akychkolvek hranic medzi nimi. Tak je mozne, ze skladba je zaroven 1-dielna, 2-dielna, 4-dielna, 8-dielna, 16-dielna, 32-dielna, 64-dielna, 128-dielna, 256-dielna, 512-dielna aj 1024-dielna. V tomto zmysle bude partitura TT pre zanieteneho hudobneho analytika bezpochyby skutocnou lahodkou.
TT poskytuje hudobny zazitok i pre siroke masy posluchacov, a to predovsetkym ucinnou instrumentacno-rytmickou gradaciou vystavanou na prehladnej tympanovej kostre. Toto velke dynamicko-dramaticke vzopatie v okamhu svojho vyvrcholenie vrha do posluchacovej pozornosti prvy "normalny" trilok v klasickom slova zmysle, aby sa tento stal v kratkom dozneni skladby nakoniec akymsi pseudovitazom nad experimentatorskymi meandrami tvorcu, ci skor naznakom moznosti reizgnacie aj na sameho seba.
Na vysvetlenie poditulu skladby uvadzam, ze ide o trilkovanie trilkov (oba pojmy v ich sirokom badatelsky mienenom vyzname), na tonoch ktorych sa trilkuju dalsie trilky, na ktorych sa trilkuju dalsie trilky, na ktorych sa trilkuju dalsie trilky, na ktorych sa trilkuju dalsie trilky, na ktorych sa trilkuju dalsie trilky, na ktorych sa trilkuju dalsie trilky, na ktorych sa trilkuju dalsie trilky, na ktorych sa trilkuju dalsie trilky, na ktorych sa trilkuju dalsie trilky, na ktorych sa trilkuju dalsie trilky, ktore uz maju tak malo casoveho priestoru, ze na nich vznika cosi ako melodia.
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