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In the second half the “Air” of the title emerges on the flutebefore moving to the woodwindat a tempo independent of the pulse of the rest of the ensemble.
Four chords on the harp bring the work to a conclusion.
Sir Harrison Birtwistle: Silbury Air
Silbury Air – Wikipedia
Sir Harrison Birtwistle Silbury Air. Dedicated to the memory of Serge and Natalie Koussevitzsky. Written in and revised init siilbury as its inspiration the prehistoric mound of Silbury Hill in Wiltshirewith its connotations of the spiritual and mysterious: List of compositions by Harrison Birtwistle Category: Silbury Air is named after Silbury Hill, a prehistoric mound in Wiltshire, the biggest artificial mound in Europe, being feet high and covering more than five acres.
It is described by the composer as “a compound artificial landscape or ‘imaginary landscape’, to use Paul Klee’s title Views Read Edit View history.
Harrison Birtwistle – Silbury Air & Secret Theatre –
Some Petals from my Twickenham Herbarium. A Garland for Birtwkstle. Seen from a distance the hill presents itself as an artificial but organic intruder on the landscape. A performance lasts around sixteen minutes. Retrieved from ” https: Silbury Air was commissioned by the Koussevitzky Foundation to mark the centenary of Serge Koussevitzky ‘s birth.
However the mood of the piece is not contemplative. Sir Harrison Birtwistle Instrumentation: From Wikipedia, the birrtwistle encyclopedia. I have read the data protection statement and agree to its validity.
Birtwistle has stated that the piece follows a strict logical pattern, but chooses not to disclose what that is, much as Silbury Hill has never revealed its purpose to archaeologists. With so zilbury argument crammed into so relatively short a span, it is a work that cries out for early repetition.
His latest work, Silbury Air, given its first performance by the London Sinfonietta under Elgar Howarth, is another is his sequence of landscape works, but it presents a striking new development. Compositions by Harrison Birtwistle compositions. The measured period, the blocks of sound, the ssilbury intensity all make for instant identification, a composer who goes his own way relentlessly and in his own time. Sign up for our newsletter! The result is dramatic and immediately exciting, contradicting in its vitality the idea of static blocks of sound on which Birtwistle has usually relied, but equally showing ibrtwistle firmest possible architectural sense, with each section relating naturally and satisfyingly to the rest.