Order Official Sheet Music
To purchase this sheet music edition, please email cdiyao@gmail.com with the link to this score. We will reply promptly with pricing, availability, and ordering details.
Email to PurchaseCreación de las Aves
Official edition of "Creación de las Aves" by Anne LeBaron, published by Composers Edition (ce-alb1cdla1), scored for 钢琴. Edition includes 1 part, 28 pages.
- Composer
- Anne LeBaron
- Publisher
- Composers Edition
- Catalog No.
- ce-alb1cdla1
- Instrumentation
- 钢琴
- Instruments
- Specifications
- 1 parts · 28 pages (Single Score)
- Purchase Orders
- cdiyao@gmail.com (Email to Purchase)
Parts & Score Materials
| Part Name | Instrument | Pages |
|---|---|---|
| 钢琴 | Piano | 28 pages |
Work & Edition Details
Commissioned by Ana Cervantes.
First performed October 11, 2012 by Ana Cervantes at the Salon del Consejo Universitario during the 40th Festival International Cervantino in Guanajuato, Mexico.
The music of Creación de las Aves, composed in 2012 and inspired by the Remedios Varo painting depicted on the cover of this score, reflects two elements that are striking in this surreal work of art: the extreme concentration shown by the Owl Woman in the painting as she paints birds into living creatures (with the assistance of alchemy and a cardio-violin), and the ecstasy of the newly liberated birds as they take flight through a star-studded window. The origin of life is thus transformed into a warm-blooded miracle, a song taking flight.
In my composition, a series of low, slowly articulated, sustained tones in the piano erupts into vivid, lightning-quick arpeggios and trills in the extreme upper register. These florid passages, framed by the deeper sonorities, are interrupted by a lurching scalar passage referencing the Notebook for Anna Magdalena Bach, by J. S. Bach. This work is woven into the piece as an homage to the unusual combination of mathematical precision within a surrealist context, depicted in so many paintings by Varos.
The initial arpeggios return as fragments, leading to the end of the piece. I’m grateful to the Mexican-American pianist Ana Cervantes for commissioning and championing this work, as part of her visionary Monarca project.
