SKU: HL.50600469
8.25x11.75x0.14 inches.
??I belong to that group of people who appropriate Debussy's wonderfully formulated philosophy according to which music begins where words end. Contrary to a view that has become widespread during the past 100 years, I am convinced that the task of the composer is to write music, not to talk about it. Even if my technical and aesthetic commentaries on one of my compositions were to have a certain value for listeners, such a commentary would have the effect that I were more or less forcing my own vision of the work onto the listener. The power of music is, however, a gift that makes it capable of calling forth different reactions in listeners. I shall therefore limit myself to saying that the 'Imaginary Variations' were inspired by the wonderful recordings of Janet Packer that I listened to with the greatest pleasure prior to the beginning of my work. The title is derived from the fact that this composition is structured similarly to the classical variation form and that the audience can listen to the constant changes of the musical ideas. In truth, however, the twelve short sections of the work are not true variations even though they reveal some connections and similarities.? (Krzysztof Meyer).
“I belong to that group of people who appropriate Debussy's wonderfully formulated philosophy according to which music begins where words end. Contrary to a view that has become widespread during the past 100 years, I am convinced that the task of the composer is to write music, not to talk about it. Even if my technical and aesthetic commentaries on one of my compositions were to have a certain value for listeners, such a commentary would have the effect that I were more or less forcing my own vision of the work onto the listener. The power of music is, however, a gift that makes it capable of calling forth different reactions in listeners. I shall therefore limit myself to saying that the 'Imaginary Variations' were inspired by the wonderful recordings of Janet Packer that I listened to with the greatest pleasure prior to the beginning of my work. The title is derived from the fact that this composition is structured similarly to the classical variation form and that the audience can listen to the constant changes of the musical ideas. In truth, however, the twelve short sections of the work are not true variations even though they reveal some connections and similarities.†(Krzysztof Meyer).
