Chant d'augmentation : for pianoforte
by Andrián Pertout (1999)
Selected products featuring this work — Display all products (3 more)
This item may be available to purchase from the Australian Music Centre.
Please contact our Sales Department to confirm pricing and availability.
Library shelf no. CD 1575 [Available for loan]
* Sales note: Purchases of this item will be completed through the ReedMusic website. GST of 10% will be added during the checkout process for Australian residents.
Library shelf no. 786.2/PER 1 [Not for loan]
Display all products featuring this work (3 more)
The pitch material utilized in 'Chant d'augmentation' or 'Song of Augmentation' has various sources, with one being an augmented scale consisting of alternating minor third and minor second intervals. The augmented chord is also featured, at times with an added minor third (producing the set 0, 3, 4, 8), while other times superimposed with its major seventh transposition (0, 4, 8 combined with its t11 producing a symmetrical set or combinatory hexachord made up of alternating minor second and minor third intervals). The beginning of the piece also features augment chord harmonics, produced by a combination of keys depressed silently, the use of the sostenuto pedal, and augmented sonorities sounded below and above the silently depressed augmented/add sharp 9 chord. The sostenuto pedal is again used in bars 19 through to 24, but this time to create a sense of bitonality. Conventional tertian sonorities are also represented, with and without added notes, as well as mixed interval chords such as secundal chords, made up of alternating tritone and major third intervals (essentially complete 13th chords). 'Chant d'augmentation' also utilizes 'golden mean' or 'golden section' proportions. The fraction represented by this ideology is .618, and manifests itself in the piece with 'moment de réflexion' or 'moment of reflection' in bar 71, where the 'golden mean' is underscored with three seconds of silence.
Duration: 3 min.
Difficulty: Advanced — Professional.
Dedication note: Dedicated to Glenn Riddle
First performance: by Robert Sipos-Ori — 9 Mar 00. Melba Hall, University of Melbourne
Performances of this work
18 Apr 08: 2008 Aurora Festival, Joan Sutherland Performance Arts Centre, School of Communication Arts, University of Western Sydney, Australia. Featuring David Miller.
15 Oct 05: Recital Hall, University of North Carolina at Greensboro, Greensboro, North Carolina, USA. Featuring Jeri-Mae Astolfi.
29 Sep 05: McCray Recital Hall, Pittsburg State University, Pittsburg, Kansas, USA. Featuring Jeri-Mae Astolfi.
28 Sep 05: All-Faiths Chapel Auditorium, K-State Campus, Music Department, Kansas State University, Manhattan, Kansas, USA. Featuring Jeri-Mae Astolfi.
20 Sep 05: Russell Fine Arts Center, Harwood Recital Hall, Henderson State University, Matt Locke Ellis College of Arts and Sciences, Arkadelphia, Arkansas, USA. Featuring Jeri-Mae Astolfi.
29 Apr 05: Russell Fine Arts Center, Harwood Recital Hall, Henderson State University, Matt Locke Ellis College of Arts and Sciences, Arkadelphia, Arkansas, USA. Featuring Jeri-Mae Astolfi.
22 Apr 05: Snow Fine Arts Center Recital Hall, University of Central Arkansas, Conway, Arkansas, USA. Featuring Jeri-Mae Astolfi.
6 Dec 04: Salle Maurice Fleuret, CNSMD (Conservatoire National Supérieur de Musique et de Danse de Paris), 33e Festival d’Automne à Paris, France
15 Oct 04: Melba Hall, University of Melbourne, Parkville, Melbourne, Australia. Featuring Robert Sipos-Ori.
17 Mar 02: Melbourne Composers’ League ‘Romanians of the Day’ Concert, Footscray Community Arts Centre, Melbourne, Australia. Featuring Robert Chamberlain.
19 Oct 01: Melba Hall, University of Melbourne, Parkville, Melbourne, Australia. Featuring Robert Sipos-Ori.
9 Mar 00: Melba Hall, University of Melbourne. Featuring Robert Sipos-Ori.
Be the first to share your thoughts, opinions and insights about this work.
To post a comment please login.