X.II: CHAGALL' S CLOCK
(2010)
(2010)
For Bass Clarinet, Trombone, Piano, Harp, Synthesizer,
Percussion and Strings
Percussion and Strings
Some years ago, I was struck by one detail in the paintings of Marc Chagall.
All the clocks he has ever placed on his paintings always show the same time. 22:10,
or 10:10, 10 hours and 10 minutes. This is a fantastic formula. The hands measure equal segments in opposite directions - 10 hours (X) to the left and 10 minutes (II) to the right. That is, from the point of view of segments - quantitative measurements - they are equal, as in the drawing. However, they are not equal in quality. 10 hours by sensation is not the same as 10 minutes. The same idea can be transferred to the movement of hands, which describe the course of one minute. One minute equals
60 seconds. This is equality. Qualitative equality. But if we imagine this minute in motion, we will get quantitative inequality: the minute makes a barely noticeable movement, while the second hand makes a full circle. In a way, this is a paradox. Together, X and II give rise to a mathematical paradox. X + II = XII. Everything seems to be right. But only 10 hours and 10 minutes in total do not give 12 hours. XII is not added up as a sum of numbers, but as entity. Such a kind of Leibnizian idea. That is, X.II, which includes two predicates 10 and 2 (which is also 10 at the same time).
This paradox contains a completely different reality. For me, this is the point of artistic tension, including reflections on the essence of time (however loud it may sound). Chagall himself gives his answer to this question in the form of the following picture:
All the clocks he has ever placed on his paintings always show the same time. 22:10,
or 10:10, 10 hours and 10 minutes. This is a fantastic formula. The hands measure equal segments in opposite directions - 10 hours (X) to the left and 10 minutes (II) to the right. That is, from the point of view of segments - quantitative measurements - they are equal, as in the drawing. However, they are not equal in quality. 10 hours by sensation is not the same as 10 minutes. The same idea can be transferred to the movement of hands, which describe the course of one minute. One minute equals
60 seconds. This is equality. Qualitative equality. But if we imagine this minute in motion, we will get quantitative inequality: the minute makes a barely noticeable movement, while the second hand makes a full circle. In a way, this is a paradox. Together, X and II give rise to a mathematical paradox. X + II = XII. Everything seems to be right. But only 10 hours and 10 minutes in total do not give 12 hours. XII is not added up as a sum of numbers, but as entity. Such a kind of Leibnizian idea. That is, X.II, which includes two predicates 10 and 2 (which is also 10 at the same time).
This paradox contains a completely different reality. For me, this is the point of artistic tension, including reflections on the essence of time (however loud it may sound). Chagall himself gives his answer to this question in the form of the following picture:
He seems to have divided unity, and from that moment on the countdown began,
the eschatological time began, almost the time of death, bent time. The 20th century reinforced this image of death. However, a watch is practically the only mechanism that we wear on ourselves, very close to the skin; we can feel it by our skin. That is, this mechanism seems to be imbued with organicity: it is very individual, can stop, be late. That is, time takes on a personal dimension.
Looking at the clock-face we can time or fix the time only numerically at the moment of a glance, setting the hands' position as well as engraving the image of the time. On
the other hand, we are not able to catch the qualitative changes of the time, its flow. We can just turn it into a gesture, for instance, the gesture of the minute-hand; and then it's no more the image of the "now", but the image of the "no more now" or the "not yet now".
I've elaborated several syntactic formulas in «Chagall's Clock». One of them might be presented in two kinds of gestures – the two types of hands' movements: the very fast movement of the second hand which could be imitated with the air effect of bow movement and the slower movement of minute hand with its not so obvious changes. In the composition, these two gestures - "mechanicalness"/repetition and slow motion of the minute hand are combined, as if demonstrating two sides of the same process or showing a coin from both sides at the same time. It's like seeing two poles simultaneously.
The number of musicians in the piece corresponds with the numbers on the clock-face, with the point placed in the middle of the two sections Х and II and simultaneously equal to their total sum, i.e. to XII. The whole ensemble is a specific clock mechanism with invisible hands, which are moving in a circle or stopped with a glance of the observer from time to time.
the eschatological time began, almost the time of death, bent time. The 20th century reinforced this image of death. However, a watch is practically the only mechanism that we wear on ourselves, very close to the skin; we can feel it by our skin. That is, this mechanism seems to be imbued with organicity: it is very individual, can stop, be late. That is, time takes on a personal dimension.
Looking at the clock-face we can time or fix the time only numerically at the moment of a glance, setting the hands' position as well as engraving the image of the time. On
the other hand, we are not able to catch the qualitative changes of the time, its flow. We can just turn it into a gesture, for instance, the gesture of the minute-hand; and then it's no more the image of the "now", but the image of the "no more now" or the "not yet now".
I've elaborated several syntactic formulas in «Chagall's Clock». One of them might be presented in two kinds of gestures – the two types of hands' movements: the very fast movement of the second hand which could be imitated with the air effect of bow movement and the slower movement of minute hand with its not so obvious changes. In the composition, these two gestures - "mechanicalness"/repetition and slow motion of the minute hand are combined, as if demonstrating two sides of the same process or showing a coin from both sides at the same time. It's like seeing two poles simultaneously.
The number of musicians in the piece corresponds with the numbers on the clock-face, with the point placed in the middle of the two sections Х and II and simultaneously equal to their total sum, i.e. to XII. The whole ensemble is a specific clock mechanism with invisible hands, which are moving in a circle or stopped with a glance of the observer from time to time.
Instrumental compositions / Projects
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For Double Bass, Silent Piano, Tape
and Soprano and Tenor ad libitum
Cycle of pieces for different instruments
For Oboe, Clarinet, Saxophone, Trombone, Percussion, Harp, Piano and Assistant
For Bass Clarinet, Trombone, Piano, Harp, Synthesizer, Percussion and Strings
For Flute, Oboe, Clarinet, Piano, Percussion,
2 Violins, Viola and Cello
2 Violins, Viola and Cello
