In fact, the melodic and formal echoes — the subterranean opening, the evanescent close, even the recurrence of some central motifs — made it seem a compulsory pairing. But I was captivated by the intricacy of the sounds and colors. Retrieved from " https: The opening soundscapes are bare and desolate, low pulsating drones punctuated by the occasional percussive thuds, as well as sundry sighs, groans and sul ponticellowhisperings. The effect suggests deep respirations. Metacosmos is cast in a single movement and has a duration of approximately 14 minutes. Metacosmos is constructed around the natural balance between beauty and chaos — how elements can come together in seemingly utter chaos to create a unified, structured whole. 
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The opening soundscapes are bare and desolate, low pulsating drones punctuated by the occasional percussive thuds, as well metacosjo sundry sighs, groans and sul ponticellowhisperings. At its centre is a broad cello melody of astonishing directness, but its contours and harmonies are repeatedly pulled out of shape by a dissonant countermelody on the upper strings.
But I was captivated by the intricacy of the sounds and colors. I was captivated by the intricacy of the sounds and colors.
Metacosmos - Wikipedia
Metacosmos is constructed around the natural balance between beauty and chaos — how elements can come together in seemingly utter chaos to create a unified, structured whole. Thorvaldsdottir did indeed take us on a dark journey, episodic yet clear.
The New York Times.
Metacosmos is a symphonic poem by the Icelandic composer Anna S. Continue using the site as normal or read our Privacy Policy. In fact, the melodic and formal echoes — the subterranean opening, the evanescent close, even the recurrence of some central motifs — made it seem a compulsory pairing. This page was last edited on 21 Augustat Thorvaldsdottir said from the stage.
This is not a piece which places much emphasis on incident; the point is not to tell a story Sibelius handled that part of the evening but to chart an expressive journey from the rumbling low bass note that begins the proceedings to the ethereal high note from a solo violin that marks its close.
Anna Thorvaldsdottir
Growing tensions between strings, winds and percussion take the listener on a voyage imbued with amazement but also angst…. By using this site, you agree to the Terms of Use and Privacy Policy.
The music takes us on a journey to this realm, where we are drawn by a force beyond our control, amid a power struggle 'between chaos and beauty. The idea and inspiration behind the piece, which is connected as much to the human experience as to the universe, is the speculative metaphor of falling into a black hole — the unknown — with endless constellations and layers of opposing forces connecting and communicating with each other, expanding and contracting, projecting a struggle for power as the different sources pull on you and you realize that you are being drawn into a force that is beyond your control.
This is a remarkable piece, showing such command of large orchestral forces, and the final slide upwards, leaving a single violin hanging in the air, was unsettlingly moving.
Our website uses cookies to give you the best possible experience. New York Classical Review. Its opening phrases heave upwards over a low percussive rumble, before brass chords eventually anchor the music in rhythmic inexorability. Retrieved from " https: A work of paradoxes, it seeks to create order and beauty out of chaos.
In its relatively brief span, Metacosmos reaches far, exploring the balance between beauty and chaos, and the metaphorical force of falling into a black hole. Metacosmos is cast in a single movement and has a duration of approximately 14 minutes.
With strange, unearthly sounds such as bowed gong edges, drum scrapings and sounds of breath, there is a sense of mystery and danger, and whenever fragments of a more harmonious melody are heard, they are on shaky ground, the strings in particular sliding and slipping away beneath any consonant harmony Over some 15 minutes of delicate, gauzy orchestral landscape punctuated by brusque rhythmic interpolations, Thorvaldsdottir creates a series of vivid scenes — each one phasing into the next as if in some kind of phantasmagoria.
Retrieved April 5, Violins contribute a wistful melody, and a kind of earthy dance ensues; as the textures thicken, something massive seems to be born.
The work is scored for a large orchestra consisting of two flutespiccoloalto flutetwo oboescor anglaisthree clarinetsbass clarinetfour bassoonscontrabassoonfour hornstwo trumpetstwo trombonestwo tubasthree percussionists, and metacoamo.
With each work, Salonen seemed intent on exploring the sonic possibilities in this hall, and the orchestra responded with alert, fully engaged performances. Metacosmos, a gorgeous and engrossing tone poem by the year-old Icelandic composer Anna Thorvaldsdottir, proved to be one of those creations whose philosophical aspects are helpful but not essential to understanding.
When I am metacpsmo by metxcosmo particular element or quality, it is because I perceive it as musically interesting, and the qualities I tend to be inspired by are often structural, like proportion and flow, as well as relationships of balance between details within a larger structure, and how to move in perspective between the two — the details and the unity of the whole.
Cues in this musical tapestry, superbly laid out by Salonen, are almost seamlessly passed from one group of instruments to another. The effect suggests deep respirations.
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