The effect is a strong complex flickering, a rapid and enriched timbral
change in which the dominating piano pitches are embedded.
The description of the composer Henry Cowell on page 1 as 'an early ethnomusicologist and the twentieth century's first great theorist of rhythm' seems a little odd in context; Nancarrow's timbral
modifications of the player-piano are not fully linked with the various alterations tried earlier by Cowell, John Cage and, most relevantly, Lou Harrison (p.
Prevost's edition could have given greater authority to some of these important first interpreters of the roles in their various versions in advocating for a return to some of those French sensibilities for timbral
lightness and subdety.
True to the era in which it was written, it is a lush, sonorous romantic piece, and the arrangement by Tony Rickard beautifully exploits the countless timbral
opportunities presented by the wind ensemble.
But the sound is very different - the addition of guitar, and the increased timbral
palette from using keyboards and other effects, means that this can often feel like an instrumental modern progressive rock group.
The final movement, "Nocturne," is less metrically challenging and relies on subtle tone and timbral
changes in an impressionistic fashion to create a wonderful "misterioso" effect.
But what spares the performance from superficiality or timbral
thinness is the potent, bravura strength of Alarie's technique: she shapes an elegant line and skips through trills, ornamentations and coloratura with nonchalance.
The performer chooses the dynamics, timbral
ornamentations, tempo, phrasing and when to play.
Thus, he utilizes the spectrum photos to 'prove' the timbral
qualities of the sounds.
On one hand, attention to Beethoven's sonority, intervallic spacing, register extremes, or timbral
allusions (some of the categories Gordon explores) could heighten the awareness for performers who might, otherwise, be preoccupied with more traditional studies of form and harmony, or simply getting the right notes.
Robin Holloway's Trio for Horn, Cello and Piano, written in 2010-11, is the second of a group of three trios Holloway wrote, exploring the timbral
possibilities of pairing strings and winds with piano.
Therefore, part of persuading any singer to accept the timbral
change that occurs at the top of the passaggio is to help him kinesthetically realize a new (replacement) resonance.