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Akorda
Conductor's score and parts on hire
978-0-19-356382-7
18 May 2000
Price: Available on request
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for solo accordion and full orchestra Forces or CategoryAccordion solo & full orchestraDuration16 minutesDifficultyDifficultOrchestrationacc solo, 2 fl (II+picc), 2 ob (II+ca), 2 cl (II+bcl), 2 bn (II+cbn), 2 tpt, tbn, btbn, tba, 2 perc (sleighbells, crotales, tamb, 2 BD, 2 sus cym (small, large), log dr, picc dr, 5 w blks, 4 tom), hp, str (10, 8, 8, 6,
4)Programme NotesWith Akorda, as with my other works, the chosen title suggests a wealth of different meanings which are reflected in the music itself. As well as the obvious reference to the instrumentation of the work, Akorda is the name of a place in the Vizcaya region, reflecting thereby my interest in musical folklore. The title is also similar in sound to the word akordu which, in Basque, means recollection or memory.
Memory is an intrinsic element of an art form such as music, which unfolds in time. This idea is explored on different levels throughout the piece and determines, to a large extent, the structural concept of the work. The parallel between the workings of human memory
and the development of an original musical work offers me the opportunity of playing with this duality: musics ability to distort the manner in which we perceive the passage of real time in which music unfolds.
Apart from this reflection on an abstract concept such as memory and its physiological effect on an individual, there is also a play on its accepted historical sense: on the one hand there is musical folklore as the collective memory of a people, and on the other there is serious music whose history is studied in traditional musicology. In this work, therefore, I have used two different types of material: one comes from the popular music of bagpipes, horns and zampogne originating from Scotland, Galicia and Italy; the other from the art music of the Renaissance more
specifically from a canzona by Giovanni Gabrieli.
With its capacity to reproduce both these sound-worlds, the accordion itself becomes the driving force of the composition, during the course of which the instrument undergoes a series of transformations. At the beginning, the accordion serves as a kind of bagpipe. Then, as we imagine the number of melodic pipes and drones increasing to represent the Italian zampogna, the sound becomes that of an organ. The intention was to integrate the accordion into the musical discourse with the various instruments of the orchestra. In Akorda, the co-existence of the folkloric with art music, of the abstract with the figurative (drone and melody), does not claim to achieve totality: such an aim would destroy any attempt at artistic
creativity.
© Gabriel Erkoreka
Reproduced by permission of Oxford University Press
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Gabriel Erkoreka (b.1969) Gabriel Erkoreka was born in Bilbao, Spain. He studied composition with Michael Finnissy at the Royal Academy of Music, where he obtained the DipRAM and a Masters degree with distinction, and was appointed Fellow of Composition 1997-98.
Erkoreka's work has been performed in the Venice Biennale 2004; the Musikverein in Vienna; the South Bank Centre, Spitalfields Festival, ICA and Wigmore Hall in London. His music has been recorded and broadcast by the BBC, WDR, RAI, RNE and other radio stations from various countries; several of his works are available on CD, edited by Verso, FNAC, LIM records and the Fundación Autor.
Gabriel Erkoreka currently lives in London and teaches composition at MUSIKENE-Basque Country Conservatoire.Gabriel Erkoreka's website
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The specification in this catalogue, including without limitation price, format, extent, number of illustrations, and month of publication, was as accurate as possible at the time the catalogue was compiled. Occasionally, due to the nature of some contractual restrictions, we are unable to ship a specific product to a particular territory. Jacket images are provisional and liable to change before publication.
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