Description
Canto Ostinato
The first performance of Canto Ostinato took place on April 25th 1979 in the Ruïnekerk in Bergen (The Netherlands) and was realized using three pianos and an electronic organ. Canto stems from a traditional source, is tonal and makes use of functional harmony, it is built according to the laws of cause and effect (tension-release). Although all parts of Canto have their fixed position in its progress and are not interchangeable without violating the melodic line, the internal logic and form, beginning and end do not have absolute meaning as boundaries, of form. Time plays an important role in Canto. Although most bars or sections feature repeat signs and although the performer(s) decide(s) on the number of repeats, one cannot speak of repetition-as-such. Repetition in this case has as its goal to create a situation in which the musical object affirms its independence and can search for its most favorable position with respect to the light thrown on it, becoming transparent. Time becomes the space in which the musical object floats. The performers have a wide margin of contribution. They decide about dynamic contrast, duration (in detail as well as for the whole), about the use of opposing or non-opposing timbre differentiations, whether or not to play passages in unison. A performance of Canto is more like a ritual experience than a regular concert.
