Search

AbstractHans Abrahamsen has reused the same rhythm across four pieces spanning 33 years: in his Ten Studies, for solo piano, and Six Pieces, for horn trio (both from 1984), in Schnee(2008) and in Three Pieces, for orchestra (2017). Because self-borrowing is crucial to Abrahamsen's compositional practice, this rhythm provides a case study in his compositional priorities, particularly in the role canonic techniques play in his music. Although the rhythm's formal properties lend it a marked asymmetry at the foreground, it is presented in Schneeas part of a canon with highly symmetric pitch materials. But despite this apparent conflict between symmetries and asymmetries, Abrahamsen's music freely combines different approaches to the rhythm, as long as it is linked to a high-register shimmer, suggesting that Abrahamsen's noted uses of canons are largely for textural ends.