SKU: HL.14028021
Ruders writes: This short piece 'Variations' for violin solo is composed of 57 bars, which you could call the theme. Each of the bars or musical units are then repeated, but in a reshuffled order, so to speak, and each of the original bars appears, not only in a different context, but in a slightly altered rhythmic guise.
SKU: HL.14028042
ISBN 9788759810668.
Ruders writes: There's a solid tradition in the history of Western music of turning the theme of Nicolo Paganini's 24th Caprice for soloviolin into a set of variations endemic to the time and style of each individual composer; Liszt, Brahms, Rachmaninov and Lutoslawsky being the most prominent names. When asked by David Starobin to write a concerto for him, I though well, why not have a go at it? - bearing in mind, that not only is Paganini the most celebrated violin-wizard of all times, but he was also a more than accomplished guitarist. There are 22 variations in all, numbers 1 to 16 all adhering strictly to the 16-bar pattern, laid down by Paganini himself. From variation 17 though, the writing becomes more symphonic and the rigid 16-bar regime is being lossendes up a bit. However, the last variation 'Finale Prestisimo' is a 6 x 16 bars white-knuckle ride, in which the hitherto soloistic role of the guitar gives way to that of 'primus interpares', i.e. 'first among equals'. As with another set of variations of mine 'Concerto on Pieces' (based on a tune by Purcell), the nature and shape of the 'Pagannini-Variations' may be compared to a stroll through a hall of mirrors: the portrait - the theme is gradually being distorted out of all recognition - but it's still the same original walking by.
SKU: HL.233151
ISBN 9788759886427. 10.0x14.5 inches. English.
Piano solo part for Paganini Variations - Piano Concerto No.3 by Poul Ruders (2014). Score available: WH32201 Programme note: In 1999 my friend, American guitar virtuoso David Starobin, wanted me to write a concerto for guitar and orchestra. It quickly dawned on me, that this commission presented a golden opportunity to contribute to the time-honoured tradition of composing a series of variations on Nicolo Paganini's famous 24th Caprice for violin solo, a work which itself is a set of variations. The 16 bar (with the first 4 bars repeated) theme is not particularly sophisticated or intricate, but its inherent simplicity and logic just grow on you, almost to the point ofdistraction - and the secret behind it being hauled through the wringer by composers as disparate as Liszt, Brahms, Rachmaninoff and Lutoslawski is perhaps found in its - what I'll call, with a quick nervous look over my shoulder: brilliant banality. You can do anything with that tune, it'll always be recognizable and just there, however much you maul it. The piece (subtitled Guitar Concerto no 2) was written pretty quickly, premiered and subsequently recorded for Bridge Records with David and the Odense Symphony Orchestra conducted by Jan Wagner, and everybody was happy. But the story didn't end there, and it must be the ultimate proof of the durability of the theme, not to mention the flexibility and far-sightedness of David Starobin , when he 14 years later suggested why not transcribe the solo part for piano?. The idea appealed to me immediately. One thing was clear from the beginning: the new version could in no way sound like a transcription. My aim was to end up with a solo-part sounding like were it the one-and-only, the real thing, if you like. The orchestral score remains exactly the same in both cases. Both versions, the two Paganini Variations, are comparable to a set of twins, not quite identical, but almost. And both each others's equal. Poul Ruders.
SKU: HL.14008995
ISBN 9788759878217. Danish.
Poul Ruders DIFERENCIASDIFERENCIAS was an old Spanish naming of musical compositions dealing with various techniques involving theme and variation. In modern Spanish it simply means differences. It's a nice title, however, and as to the present piece, a very fitting one indeed, because I wrote it especially to The Elsinore Players for their South America-tour in 1981.Actually nothing happens to the clipping of wellknown Bach (the first four bars of the chorale: jesu, Joy of Man's Desiring, cantata No. 147), apart from the continuous changing of the succession-pattern of the 11 triplets and one duplet, the latter of which creates the recognizable 8/8 pattern amidst the flow of 9/8 spinnrad-rolling. To put it popularly, I haven't included anything that Bach does not have in the book himself.In addition to that, the unpredictable accents and various instrumental colours are the only means of differences. There are no modulations, no tricky polyphony, nothing but a long, thoughtful tasting the beautiful piece of tune. Well, of course, the chorale itself enters the picture in the very last section, but that is merely for me to have the pleasure of tossing it away again before it comes to a proper end.Finally, I really do think, that the Cage/Morgan poem quoted below, is the most suitable prologue to DIFERENCIAS:14 variations on 14 wordsI have nothing to say and I am saying it and that is poetry. John CageI have to say poetry and is that nothing and I am saying itI am and I have poetry to say and is that nothing saying itI am nothing and I have poetry to say and that is saying itI that am saying poetry have nothing and it is I and to sayAnd I say that I am to have poetry and saying it is nothingI am poetry and nothing and saying it is to say that I haveTo have nothing is poetry and I am saying that and I say itPoetry is saying I have nothing and I am to say that and itSaying nothing I am poetry and I have to say that and it isIt is and I am and I have poetry saying say that to nothingIt is saying poetry to nothing and I say I have and am that Poetry is saying I have it and I am nothing and to say that And that nothing is poetry I am saying and I have to say itSaying poetry is nothing and to that I say I am and have itEdwin MorganPoul Ruders.
