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Omar has two parts, each of which are numbered with a Roman numeral. The purpose is to maintain the initial material, but to transform it through the piece by using panels and filters. Panels, marked by tempo-changes, conceive the inner structure of each part. Every tempo change puts a new light on the initial material, like looking at it from a different angle. Most of the works of Donatoni's Joyous Period (after ‘77) have this two-part form. The development of the material in the panels itself happens through codes. The two parts stand quite autonomously from each other, each having a very clear ending. The score is in traditional music notation, but lacks bar lines completely. It is printed as a handwritten score, with alterations occasionally marked above the notes instead of in front of the note.
Omar has two parts, each of which are numbered with a Roman numeral. The purpose is to maintain the initial material, but to transform it through the piece by using panels and filters. Panels, marked by tempo-changes, conceive the inner structure of each part. Every tempo change puts a new light on the initial material, like looking at it from a different angle. Most of the works of Donatoni's Joyous Period (after ‘77) have this two-part form. The development of the material in the panels itself happens through codes. The two parts stand quite autonomously from each other, each having a very clear ending. The score is in traditional music notation, but lacks bar lines completely. It is printed as a handwritten score, with alterations occasionally marked above the notes instead of in front of the note.
Omar has two parts, each of which are numbered with a Roman numeral. The purpose is to maintain the initial material, but to transform it through the piece by using panels and filters. Panels, marked by tempo-changes, conceive the inner structure of each part. Every tempo change puts a new light on the initial material, like looking at it from a different angle. Most of the works of Donatoni's Joyous Period (after ‘77) have this two-part form. The development of the material in the panels itself happens through codes. The two parts stand quite autonomously from each other, each having a very clear ending. The score is in traditional music notation, but lacks bar lines completely. It is printed as a handwritten score, with alterations occasionally marked above the notes instead of in front of the note.