Composities
Benjamien Lycke — Drie reeën
Erik Desimpelaere — View–Master
Frank Nuyts — No quiero que os separéis
Bianca Bongers — Surrounded by Air (Appearance II)
Koen Quintyn — Winaloto
Alice Hebborn — Au bout du souffle
Corrado Saglietti — Weekend in Tokyo
CD 3D
In the summer of 2018 Triotique celebrated its 5th anniversary, a great opportunity to do something special: record a first CD with pieces written especially for the trio! The CD was recorded under the direction of Korneel Bernolet and issued by label Etcetera. The ladies found a subject that suits them perfectly: 3D.
3D: Everything that happens when three personalities, three instruments, three ladies come together. It also includes new concert forms with a spatial angle. A bet on the classical music of the future.
3D: Everything that happens when three personalities, three instruments, three ladies come together. It also includes new concert forms with a spatial angle. A bet on the classical music of the future.
With special thanks to
︎ B&B Rosario for their hospitality, they ensured that we could record in peace in an inspiring environment
︎ All the sponsors of our crowdfunding: without them we would not have been able to realize our CD
︎ Luc De Decker for the beautiful pictures
︎ Piano's Maene
︎ Afternoon concerts Antwerp
︎ All the sponsors of our crowdfunding: without them we would not have been able to realize our CD
︎ Luc De Decker for the beautiful pictures
︎ Piano's Maene
︎ Afternoon concerts Antwerp
Drie Reeën
The main theme of this composition consists of three re's, analogous to the theme 3D - hence the title. The composer, who wanted to write a rhythmic piece for Triotique, chose the time signature 9/8, subdivided into 3/8 and 3/4. The piece starts with a wild chase that comes to a halt towards the middle and then resumes in full action. Imagine yourself in the middle of an action movie and make up your own story with the music.
View–Master
Erik Desimpelaere, December 2017
This piece aims to convert the principles of stereoscopy into music. Stereoscopy is looking at an image with depth by looking at an image with each eye individually. Today, this technique is used to make 3D cinema, but in this composition I'm harking back to an older commercial product that also used stereoscopy: the View-Master.
The structure of the piece is based on a so-called View-Master reel, which contains 7 stereo photos as standard (14 images in total). Musically, the 14 parts of this piece are not linked together (as with a reel from the View-Master). They are connected by a more layered exchange of musical motifs and metric modulations. The musical writing of each of the 14 movements of this composition is based on the principle of stereoscopy. There is a constant interaction between the three instruments that create the musical illusion of 3D images in white.
That piece was written for the Triotique ensemble.
This piece aims to convert the principles of stereoscopy into music. Stereoscopy is looking at an image with depth by looking at an image with each eye individually. Today, this technique is used to make 3D cinema, but in this composition I'm harking back to an older commercial product that also used stereoscopy: the View-Master.
The structure of the piece is based on a so-called View-Master reel, which contains 7 stereo photos as standard (14 images in total). Musically, the 14 parts of this piece are not linked together (as with a reel from the View-Master). They are connected by a more layered exchange of musical motifs and metric modulations. The musical writing of each of the 14 movements of this composition is based on the principle of stereoscopy. There is a constant interaction between the three instruments that create the musical illusion of 3D images in white.
That piece was written for the Triotique ensemble.
No quiero que os separéis
Frank Nuyts based this work on a chamber opera that he composed a few years ago for the Madrid Opera, but which was never performed due to censorship. The libretto is by the well-known Spanish writer Rosa Montero and sketches a very topical story: a couple wants a divorce without burdening their two children too much. This is far from obvious, especially not when the bossy mother-in-law gets involved. No quiero que os separéis contains, just like a good opera, the necessary humour, interaction and drama. Three generations of women are central to this.
Surrounded by Air (Appearance II)
This piece, which I wrote for Triotique, is the second in my 'Surrounded by Air' series. The series consists of short, detailed chamber music works in varying instrumentation. Characteristic is the playful, spatial character of the music. I wrote Appearance I in 2017 for soprano, flute, trumpet, percussion and cello.
The theme '3D' is completely in line with my working method as a composer: I work from a visual representation of music. In this way I 'see', as it were, what I want to hear and then search for it in sound. For me, music consists of the aspects of length, height, depth, color and texture. In this respect, division in time equals division in space.
The image I got for this trio was a combination of dots, spheres and points, which together form a cube. As a preliminary study I put a sketch of this on paper. First I drew the dots, very spontaneously, without thinking too much: 'front, back, low, high, small, large'. Yet it continued to appear to me as a flat plane, 2D. The addition of the soft lines of the cube gave the points a direct perspective, 3D. I wanted to use this same principle musically.
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Visual Representation, Appearance II (Dec 2017)
Previously, I often translated points into short, single notes. Now I wanted to take that a step further by combining a combination of tones into a sphere, a musical 'object'. Lines can also be found in detail within this, such as in the first four notes of the piano part, which together form a rhombus. A rhombus gives a square in perspective. The first sounding lines can be heard early in the piece, initially for a short duration. These lines continue to expand throughout the piece. The golden ratio can be found in the alternation between the fast points and the quiet lines. A ratio that can be constructed geometrically from the square and which I like to work with!
This abstract image also has a personal meaning for me: the combination of freedom and spontaneity with a framework that provides peace and structure, a sense of security. When the lines from the abstraction work towards a true 3|4 time, the music seems to take on the character of a lullaby. Thus the number three returns, dedicated to the three musicians of Triotique.
~ It's a live drawing ~
The theme '3D' is completely in line with my working method as a composer: I work from a visual representation of music. In this way I 'see', as it were, what I want to hear and then search for it in sound. For me, music consists of the aspects of length, height, depth, color and texture. In this respect, division in time equals division in space.
The image I got for this trio was a combination of dots, spheres and points, which together form a cube. As a preliminary study I put a sketch of this on paper. First I drew the dots, very spontaneously, without thinking too much: 'front, back, low, high, small, large'. Yet it continued to appear to me as a flat plane, 2D. The addition of the soft lines of the cube gave the points a direct perspective, 3D. I wanted to use this same principle musically.
Visual Representation, Appearance II (Dec 2017)
Previously, I often translated points into short, single notes. Now I wanted to take that a step further by combining a combination of tones into a sphere, a musical 'object'. Lines can also be found in detail within this, such as in the first four notes of the piano part, which together form a rhombus. A rhombus gives a square in perspective. The first sounding lines can be heard early in the piece, initially for a short duration. These lines continue to expand throughout the piece. The golden ratio can be found in the alternation between the fast points and the quiet lines. A ratio that can be constructed geometrically from the square and which I like to work with!
This abstract image also has a personal meaning for me: the combination of freedom and spontaneity with a framework that provides peace and structure, a sense of security. When the lines from the abstraction work towards a true 3|4 time, the music seems to take on the character of a lullaby. Thus the number three returns, dedicated to the three musicians of Triotique.
~ It's a live drawing ~
Winaloto
For this piece, Koen Quintyn based mainly on the Tommy Cash-directed music video for the song Winaloto. In this (more than 3) women play a prominent role. In the same way that Cash directs his wives, Quintyn edits his notes. These notes, which he sees as raw data and which he also dares to use, copy and abuse in different compositions or genres, result in a quasi-minimalist argument for this work. Winaloto strongly refers to electronic music, although it is performed purely acoustically. It is an ode to beauty in superficiality, and superficiality in beauty.
Au bout du souffle
For 'Au bout du souffle' we move to an underwater sound world. The piece starts at the surface of the water, but soon the electronic sound tape takes us down. The instruments join the tape almost carelessly. As the piece progresses, we dive deeper and deeper into the water and the sound becomes more and more distorted. The pressure on our ears is increasing and listeners and performers together become breathless, until we slowly resurface. This composition uses a special sound amplifier that amplifies the vibrations of the piano's sound box.
Weekend in Tokyo
Corrado Saglietti wrote this piece after an inspiring weekend in Tokyo. He takes us to some very interesting places: the busy shopping streets of Shibuya, a traditional bridal procession in a green temple, a peaceful river in Suidobashi, a temple ritual with small, high bells, deep-sounding big drums and the chanting of monks and finally to a Luna Park. A musical 3D experience of Tokyo!