Blitzed! for Violin and Electronics

Research output: Other contribution

Abstract

Blitzed! was the first collaboration between violinist Darragh Morgan and myself. As an improvising jazz-rock guitarist who dabbles in classical music I was immediately struck by the ease with which Darragh transcended stylistic boundaries, never failing to enhance any musical situation in which he found himself, whether it be contemporary classical, jazz-rock or Irish traditional, with his unique blend of insight, passion and technical brilliance. Blitzed!, dedicated to Darragh, is designed to give free reign to these qualities, utilising notational conventions, pioneered by Witold Lutosławski, which, whilst allowing for a large amount of improvisational freedom on behalf of the performer, also facilitate careful guidance of the improvisation in terms of pitch and rhythm by the composer. The electronic part is constructed solely using transformations of samples taken from Darragh’s wonderful Peter Boardman violin.
LanguageEnglish
TypeOriginal Composition
Publication statusPublished - 1 Feb 2001

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Jazz
Rock
Violin
Classical music
Improvisation
Performer
Reign
Guitarist
Guidance
Rhythm
Violinist
Composer
Blends
Passion

Cite this

@misc{830b9bd4701745fbaad9828a6cdd636e,
title = "Blitzed! for Violin and Electronics",
abstract = "Blitzed! was the first collaboration between violinist Darragh Morgan and myself. As an improvising jazz-rock guitarist who dabbles in classical music I was immediately struck by the ease with which Darragh transcended stylistic boundaries, never failing to enhance any musical situation in which he found himself, whether it be contemporary classical, jazz-rock or Irish traditional, with his unique blend of insight, passion and technical brilliance. Blitzed!, dedicated to Darragh, is designed to give free reign to these qualities, utilising notational conventions, pioneered by Witold Lutosławski, which, whilst allowing for a large amount of improvisational freedom on behalf of the performer, also facilitate careful guidance of the improvisation in terms of pitch and rhythm by the composer. The electronic part is constructed solely using transformations of samples taken from Darragh’s wonderful Peter Boardman violin.",
author = "Frank Lyons",
year = "2001",
month = "2",
day = "1",
language = "English",
type = "Other",

}

Blitzed! for Violin and Electronics. / Lyons, Frank.

2001, Original Composition.

Research output: Other contribution

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AU - Lyons, Frank

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N2 - Blitzed! was the first collaboration between violinist Darragh Morgan and myself. As an improvising jazz-rock guitarist who dabbles in classical music I was immediately struck by the ease with which Darragh transcended stylistic boundaries, never failing to enhance any musical situation in which he found himself, whether it be contemporary classical, jazz-rock or Irish traditional, with his unique blend of insight, passion and technical brilliance. Blitzed!, dedicated to Darragh, is designed to give free reign to these qualities, utilising notational conventions, pioneered by Witold Lutosławski, which, whilst allowing for a large amount of improvisational freedom on behalf of the performer, also facilitate careful guidance of the improvisation in terms of pitch and rhythm by the composer. The electronic part is constructed solely using transformations of samples taken from Darragh’s wonderful Peter Boardman violin.

AB - Blitzed! was the first collaboration between violinist Darragh Morgan and myself. As an improvising jazz-rock guitarist who dabbles in classical music I was immediately struck by the ease with which Darragh transcended stylistic boundaries, never failing to enhance any musical situation in which he found himself, whether it be contemporary classical, jazz-rock or Irish traditional, with his unique blend of insight, passion and technical brilliance. Blitzed!, dedicated to Darragh, is designed to give free reign to these qualities, utilising notational conventions, pioneered by Witold Lutosławski, which, whilst allowing for a large amount of improvisational freedom on behalf of the performer, also facilitate careful guidance of the improvisation in terms of pitch and rhythm by the composer. The electronic part is constructed solely using transformations of samples taken from Darragh’s wonderful Peter Boardman violin.

M3 - Other contribution

ER -