TYPEPHASE (2009)
part of the Sensual Musicology project
This series (made in the spring of 2009) ideally belongs with Boleros, although it was executed using an altogether different system. The question behind both concepts is the same: what happens (sonically and musically) if I overlap several copies of the same piece, slightly shifting each one in a regular way? In this case the copies are digital clones (and not different versions, as in Boleros). I'm working on several pieces using this method. (Tip: the number of instruments or groups of instruments used in each piece is also the number of copies used.)
Circumstance Phase (for six pianos) 1'48
From Pomp and Circumstance Military Marches, March No. 1 in D major by Sir Edward Elgar


Hungarian Phase (for six sextets) 3'12"
16 bars loop from Johannes Brahms' Hungarian Dance No. 5


Réjouissance Phase (for nine pianos) 5'32"
from Georg Fridrich Händel's La Réjouissance - 4th movement from Music for the Royal Fireworks



watch videoclip
Amazing Phase (for nine celestas) 1'51"
from Amazing Grace (trad.)


G Major Phase (for six vibraphones) 2'40"
from Johann Sebastian Bach's prelude to Cello Suite Number One in G

© by Sergio Messina (read the license)
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