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Contrapuntal Forms

[Introduction] [Ascending Form] [Contrapuntal Forms] [Quiet Form] [Conversation with Magic Stones] [Back to Rhythm of the Stones]


from Guico Delle Coppe
When Barbara Hepworth was working on her sculpture Contrapuntal Forms she had recently embarked on a friendship with the composer Priaulx Rainier. Through Rainier, Hepworth developed a delight in the domestic contrapuntal music of the English Renaissance such as the fantasias of Orlando Gibbons.

Hepworth's sculpture is a kind of visual fantasia for two figures. This idea is developed in the first of my own 'contrapuntal forms' called Guico Delle Coppe (Game of Pairs) - the title Bartok gave to the second movement of his Concerto for Orchestra - where only two instruments

 

out of the four ever play together at the same time. It could be said to be music 'of the sculpture'.

In the second 'contrapuntal form' titled Jeux Diurnes (Late Afternoon Games) the music might be regarded as what goes on 'outside the sculpture'; what surrounds it, or how it might be encountered. The music plays games with itself spinning a contrapuntal web of patterns, woven by each player into a whole. Like the fantasias of Orlando Gibbons there is often intense imitation between each instrumental part.

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Nigel Morgan, Prudential Buildings, 55 Westgate, Wakefield, West Yorkshire, WF1 1BW, United Kingdom Tel: 01924 383017 e-mail: tonalitysystems@mac.com

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