Sabina – Andrew Norman
from Music for Spaces by Leanne Zacharias
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about
Sabina (2008)
American composer Andrew Norman is a member of the Sleeping Giant collective and teaches at The Juilliard School in New York City. He writes, “In October 2006 I visited the ancient church of Santa Sabina on Rome's Aventine Hill. I entered very early in the morning, while it was still dark, and as I listened to the morning mass I watched the sunrise from within the church. The light in Santa Sabina is breathtaking; the large clerestory windows are not made of glass but of translucent stone, and when light shines through these intricately patterned windows, luminous designs appear all over the church's marble and mosaic surfaces. As I watched the light grow and change that morning, I was struck by both its enveloping, golden warmth and the delicacy and complexity of its effects. I sketched the material for this piece soon after that unforgettable experience.”
You can understand a work only by passing through it and following its course with total, active, constructive attention. In music, as in architecture, new materials necessitate new structures. At first cement was used to imitate stone, but the new material proved too strong to be treated traditionally. In music, too, we shall have to discover a system of expression suited to the new material.
-Pierre Boulez, Orientations
American composer Andrew Norman is a member of the Sleeping Giant collective and teaches at The Juilliard School in New York City. He writes, “In October 2006 I visited the ancient church of Santa Sabina on Rome's Aventine Hill. I entered very early in the morning, while it was still dark, and as I listened to the morning mass I watched the sunrise from within the church. The light in Santa Sabina is breathtaking; the large clerestory windows are not made of glass but of translucent stone, and when light shines through these intricately patterned windows, luminous designs appear all over the church's marble and mosaic surfaces. As I watched the light grow and change that morning, I was struck by both its enveloping, golden warmth and the delicacy and complexity of its effects. I sketched the material for this piece soon after that unforgettable experience.”
You can understand a work only by passing through it and following its course with total, active, constructive attention. In music, as in architecture, new materials necessitate new structures. At first cement was used to imitate stone, but the new material proved too strong to be treated traditionally. In music, too, we shall have to discover a system of expression suited to the new material.
-Pierre Boulez, Orientations
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from Music for Spaces,
released June 25, 2021
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Redshift Music Vancouver, British Columbia
Redshift was founded in Vancouver, Canada with a focus on championing the music of contemporary composers.
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