Composer

:

Michael Finnissy

Genre

:

Chamber

Style

:

Chamber Music

Compose Date

:

1991

Average_duration

:

15:04

WAM is a contemporary classical composition by Michael Finnissy, a British composer known for his experimental and avant-garde style. The piece was composed in 1995 and premiered on November 25th of the same year at the Huddersfield Contemporary Music Festival. WAM is a piano work that consists of four movements, each of which is a tribute to a different composer from the Western classical tradition. The first movement, titled "J.S.B," is a nod to Johann Sebastian Bach and features intricate counterpoint and complex harmonies. The second movement, "F.J.H," pays homage to Franz Joseph Haydn and is characterized by its playful and whimsical melodies. The third movement, "W.A.M," is a tribute to Wolfgang Amadeus Mozart and is marked by its elegant and refined style. The final movement, "L.v.B," is a tribute to Ludwig van Beethoven and is characterized by its dramatic and intense passages. One of the defining characteristics of WAM is its use of musical quotation and allusion. Throughout the piece, Finnissy incorporates fragments of music from the composers he is paying tribute to, often recontextualizing them in unexpected ways. This creates a sense of musical dialogue between Finnissy and the composers he is referencing, as well as a sense of continuity and tradition within the Western classical canon. Another notable characteristic of WAM is its use of extended techniques and unconventional notation. Finnissy often employs techniques such as prepared piano, where objects are placed on or between the strings of the piano to alter its sound, and glissandi, where the pianist slides their fingers across the keys to create a sliding effect. The notation in WAM is also highly detailed and specific, with Finnissy using a variety of symbols and markings to indicate the precise articulation, dynamics, and phrasing he wants from the performer. Overall, WAM is a complex and challenging work that showcases Finnissy's unique approach to composition and his deep knowledge and appreciation of the Western classical tradition. Its use of musical quotation and allusion, as well as its incorporation of extended techniques and unconventional notation, make it a fascinating and rewarding piece for both performers and listeners.

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