The idea of playing between two extremes is often
found, in one form or another, in Erkoreka’s music. One of
the clearest examples is to be found in Dipolo
(1995, cello & piano) which contrasts extreme opposites of dynamic,
register and articulation. [pno, opening phrase & its echo /
p7 bottom line] This occurs not only on a note-to-note level, but
also in the formal design of the piece which consists of two movements,
the first featuring a predominantly sparse, chordal texture, the
second more rhythmic and bursting with energy.
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Gabriel Erkoreka: Dipolo © Oxford University Press
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