Veronique Vankoucke performs " Mood 4 & 5 " by Patrick Dorobisz -
Veronique Vankoucke performs " Mood 7 " by Patrick Dorobisz -Complete video - Feb 2011
Patrick Dorobisz : " XXL Measure around G#3 "
performed by Veronique Vanhoucke (2012)
Patrick Dorobisz : " Quatrain for Piano " solo in 4 parts, performed by Veronique Vanhoucke(2010)
Part 1 : Red Night
Part 2 : Nocturne without B section
Part 3 : A-B-A Brealing Point
Part 4 : Linked
Veronique Vankoucke performs "Orpheon de Jade" by Patrick Dorobisz -Complete video - Janv 2010
In this third version of "L’orpheon de Jade" for four pianos performed by Veronique Vanhoucke, I decided to open the form and so I asked Veronique to be creative.
And as a creative pianist she added prepared piano, clusters and picking, with great playing but also with the feeling of musical time. It is rare to find a musician who cares much more about the music’s soul than about just the musical writing and the technical execution of the score. She can play as a romantic pianist, as a driver of emotions, but also as a rock drummer! She is very talented and very creative. For example she prepares her fingers using rings, accessories, etc. Pianist Veronique Vanhoucke is a real pioneer of contemporary classical music, also using computers, especially in the sphere of minimalism in the world. Veronique Vanhoucke is pushing the limits of what piano playing can be even further.
1st production at the Ghent Institute for Psychoacoustics and Electronic Music (IPEM) – 1985
In 1973, Patrick Dorobisz begins to compose his first repetitive works using electronic music recorded on magnetic tape.
To play back the work, Patrick Dorobisz used several tape players which he did not synchronise, in order to obtain rhythmic shifts and an unstable harmony with every listen.
With the emergence of computers in 1983, Patrick Dorobisz returned to this concept and developed it, writing short units of melody on each of the computer’s tracks, but with a different time signature each time.
While the tape players let a different harmony be heard, the computer definitively fixed this out-of-step harmony and the rigour of its interpretation made new melody lines appear that were not written down or clearly defined rhythmically.
Paradoxically, it would therefore be the absolute precision of the computer that would fix the randomness of the harmony and would let a new form of musical architecture be heard: moving architecture.
Orpheon de jade is composed along this principle and this version, composed in 1984, is a follow-up to a first version composed in 1982 on magnetic tape.
In the Second Version, (for chamber orchestra - 2003) the computer version is enhanced by the interplay of instruments. Each instrumentalist must play their theme in isolation from the other musicians, to amplify this concept of moving harmonic architecture, which also allows another western perception of time to appear.
In The third version for four pianos performed by Veronique Vanhoucke, (2009) I decided to open the form and I asked to Veronique to be creative. And as a creative pianist she added prepared piano, clusters, picking with a great playing.
As a pianist, I try to pass on the magic of the piano by playing contemporary classical music, especially minimalist music from composer Patrick Dorobisz