PT  - JOURNAL ARTICLE
AU  - Prifti, Egli
TI  - The Composition Techniques of Thomas Simaku in His Plenilunio
DP  - 2016 Dec 11
TA  - Musicologica Olomucensia
PG  - 63--89
VI  - 24
IP  - 2
AID - 10.5507/mo.2016.015
IS  - 27879186
AB  - The music of Thomas Simaku (born in 1958), widely played throughout Europe and abroad, has received the acclaim of critics for its unique interweaving of emotional labour and modern musical language. These qualities are also present in the composition Plenilunio for 12-string instruments, which was premiered in 1999 by the Goldberg Ensemble. Plenilunio (Full Moon) was inspired by the cycle Lirici Greci (Greek Lyrics), the Italian version of the poetry by the ancient Greek poetess Sappho. The author uses several of his characteristic techniques, for example symmetry and modally constructed melodies, from where he takes the main chords, which are used as pivots in the subsequent musical blocks. At the beginning of Plenilunio, Simaku presents the main motive in its vertical and horizontal position. In the second block, the 1141 chord is presented as the main pivotal element. He works with the 1141 chord in different ways, including inversion and combination with other chords. In the third block, Simaku presents the descending Dorian Tetrachord as the main chord while, at the apex of the block, introducing the interesting concept coined by Simaku as "static modulation". In the fourth and last block, the 122 chord features as the main chord taken from the final part of the main motive from the first block. The musical piece ends with a culmination of the 12-tone chord by introducing the Dorian Tetrachord for the first time in ascension. Simaku takes the pivotal chords from the main motive and works with them in a unique way, allowing room for the integrity of the piece despite the individuality of its constituent blocks.