Between

Between sorrow and light

Composer: Martin Lohse Year: 2016 Worknumber: W. 46 Category: Cat 2.8 (Chamber) Duration: 9 min
Instrumentation: vn, gtr
Original work for violin and guitar, commissioned by the Danish-Australian Duo

Performance Materials

Program Note

In English

Between (2016)
Between sorrow and light
Violin and guitar

Between was commissioned by the Danish-Australian Duo.

Mobile
Mobile is a compositional technique where multiple layers of music with independent tempos, meters, and styles are integrated into a recurring chordal pattern. These chords modulate slowly through all keys, resulting in a harmonic language with minimal dissonance.

The technique synthesizes several methods developed across earlier works:

1.  Continuous Modulation: A repeating sequence of chords that modulates from start to finish, creating a state of constant motion. This was first utilized in Haiku (1999) and further developed in In Liquid… (violin and piano) (2003) and Image Balancantes (2004).
2.  Simultaneous Layers: The use of multiple independent musical layers, which has been a primary element of the music since 2000.
3.  Rhythm Across Harmony: A principle where independent motives are played in individual tempos against the rhythm of the underlying chords. This was first explored in Smoke (2000), refined in Liebestraum (Liszt arrangement from 2005) and 8 Momenti Mobile (2008), and reached its definitive form in Concerto in Tempi (2010).


Martin Lohse 2016

In Danish

Between (2016)
Mellem sorg og lys
Violin og guitar

Between er bestilt af Den Dansk-Australske Duo.

Mobile
En teknik hvor forskellige lag af musik i hver deres tempo, metrik og musikalsk stil kombineres i et simpelt mønster af akkorder, som langsomt modulerer igennem alle tonearter i en uendelig sekvens, skabende en musik med ingen eller ganske få dissonanser.

Martin Lohse 2016

Performances

First Performance

Saturday 10 December 2016 – Den Dansk-Australske Duo – Metronomen, Frederiksberg, Denmark

Other Performances

Please note: This is not a complete list. It includes live performances and radio broadcasts across all versions of the work. While the archive is highly comprehensive for earlier years, recent entries show only a fraction of the 500-1.000 annual performances across the composer's complete catalog, reflecting only those events reported to and logged by the composer.

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