{"type":"rich","version":"1.0","provider_name":"Transistor","provider_url":"https://transistor.fm","author_name":"Contemporánea","title":"51. Intérpretes","html":"","width":"100%","height":180,"duration":926,"description":"La existencia de ejecutantes musicales que no son compositores, o lo son pero prefieren consagrarse a interpretar, resulta crucial en la Historia de la Música. Gracias a esos encargos de los que se beneficia su desempeño, han hecho más grande la obra de los grandes compositores._____Has escuchadoImmer: pour violoncelle seul (1996) / Pascal Dusapin. Sonia Wieder-Atherton, violonchelo. RCA (2001)Plainsound Glissando Modulation: Raga in Just Intonation for Violin and Double Bass, op. 49 (2006-2007) / Wolfgang von Schweinitz. Helge Slaatto, violín; Frank Reinecke, contrabajo. NEOS (2009)Ryoanji: For Contrabass and Tape (1983) / John Cage. Stefano Scodanibbio, contrabajo. WERGO (2009)st/4: for string quartet (1955-1962) / Iannis Xenakis. Arditti String Quartet. Montaigne (2003)Wunderblock (Nebenstück II): pour accordéon et orchestre (2005) / Gérard Pesson. Teodoro Anzellotti, acordeón. Aeon (2009)_____Selección bibliográficaCLARKE, Eric F. y Mark Doffman, Distributed Creativity: Collaboration and Improvisation in Contemporary Music. Oxford University Press, 2017COOK, Nicholas, Beyond the Score: Music as Performance. Oxford University Press, 2013COUROUX, Marc, “Evryali and the Exploding of the Interface: From Virtuosity to Antivirtuosity and Beyond”. Contemporary Music Review, vol. 21, n.º 2-3 (2002), pp. 53-67DUNCAN, Stuart Paul, “Re-Complexifying the Function(s) of Notation in the Music of Brian Ferneyhough and the ‘New Complexity’”. Perspectives of New Music, vol. 48, n.º 1 (2010), pp. 136-172*FLENDER, Reinhard David, Freie Ensembles für Neue Musik in Deutschland eine Studie des Instituts für kulturelle Innovationsforschung an der Hochschule für Musik und Theater Hamburg. Schott, 2007HILL, Peter, “Xenakis and the Performer”. Tempo, n.º 112 (1975), pp. 17-22*HOWARD, Philip, “‘Evryali’: Beyond the Surface (What I Learned from ‘Evryali’ by Performing It)”. Perspectives of New Music, vol. 42, n.º 2 (2004), pp. 144-157*LAWSON, Colin y Robin Stowell (ed.), The...","thumbnail_url":"https://img.transistorcdn.com/-OjNsSd1KSsiI_oPlEyL6GNfjloceaP9j7zXzpPWvBM/rs:fill:0:0:1/w:400/h:400/q:60/mb:500000/aHR0cHM6Ly9pbWct/dXBsb2FkLXByb2R1/Y3Rpb24udHJhbnNp/c3Rvci5mbS9zaG93/LzQ3MTYxLzE3MDA4/Mjg4MDMtYXJ0d29y/ay5qcGc.webp","thumbnail_width":300,"thumbnail_height":300}