Lieferzeit
2-3 Tage
Matériel en location / d'exécution
Antiphon
für Orchestergruppen
orchestre
Impressed by the principles and sound structures of Venetian polychorality, I set up different orchestral choirs, each homogenous in itself […]. These individual minichoirs alternate constantly in a very fast way. I abandoned entirely my preference for the smallest of transitions and imperceptible merging of sounds in favour of a clearly separating ‘splitting sound’, of a radical cutting technique. Jörg Widmann
Edition: Matériel d'exécution
Détails du produit
Description
Impressed by the principles and sound structures of Venetian polychorality, I set up different orchestral choirs, each homogenous in itself: 4 flutes, 4 oboes, 4 clarinets, 4 bassoons in the woodwind section; 4 horns, 4 trumpets, 4 trombones and a tuba in the brass section; 4 percussionists and timpani positioned at the back, as well as a relatively small string ensemble emphasizing the low registers comprising 4 violins, 6 violoncellos and 8 double-basses, 4 of which are positioned on the extreme left while the other 4 are positioned on the extreme right. These individual mini-choirs alternate constantly in a very fast way. I abandoned entirely my preference for the smallest of transitions and imperceptible merging of sounds in favour of a clearly separating 'splitting sound', of a radical cutting technique.
The basic material is rather simple and strictly limited: a fast fanfare rhythm, a slowly repeated ritual-like stretched percussion pulse, and a melodic shape that, on each new note, wanders to another instrument group. Everything that follows arises from these three cells.
The fanfare impulse remains similar to its fundamental character throughout the piece despite various contrapuntal transformations, as does the original rhythmic form despite all kinds of modifications and variations. What changes radically is the melodic nucleus: it is gradually extended and stretched until it functions as a varied verse with a final sequence. At the same time, monophony gradually becomes a two-part, then three-part structure and finally polyphony which, however, jumps in sections from instrument group to instrument group. Everything is subjugated to the idea of alternate singing, of the antiphon.
- Jörg Widmann, in February 2008
The basic material is rather simple and strictly limited: a fast fanfare rhythm, a slowly repeated ritual-like stretched percussion pulse, and a melodic shape that, on each new note, wanders to another instrument group. Everything that follows arises from these three cells.
The fanfare impulse remains similar to its fundamental character throughout the piece despite various contrapuntal transformations, as does the original rhythmic form despite all kinds of modifications and variations. What changes radically is the melodic nucleus: it is gradually extended and stretched until it functions as a varied verse with a final sequence. At the same time, monophony gradually becomes a two-part, then three-part structure and finally polyphony which, however, jumps in sections from instrument group to instrument group. Everything is subjugated to the idea of alternate singing, of the antiphon.
- Jörg Widmann, in February 2008
Orchestral Cast
4 (alle auch Picc.) · 4 (3. auch Engl. Hr., 4. auch Heckelphon) · 4 (3. auch Bassklar., 4. auch Kb.-Klar.) · 4 (3. u. 4. auch Kfg.) - 4 · 4 · 4 · 1 - P. S. (I: Glsp. · Crot. [e’’’ – c’’’’’] · Buckelgongs [Cis, Fis, Gis, A] · 3 Beck. · gr. Tr. · 2 Tamburims [beide h., aber unterschiedlich] · 2 Tomt. [t.] · Ratsche; II: Glsp. · Xyl. · Crot. [e’’’’, b’’’’] · 2 Beck. [m./t.] · chin. Beck. · chin. Operngong · 2 Gongs [h.] · Tamt. [t.] · 2 Bong. · gr. Tr. · Tomt. [t.]; III: Xyl. · Crot. [cis’’’ – c’’’’’] · Röhrengl. · Plattengl. [Cis, D, E, G, As] · Buckelgongs [Cis, Es] · chin. Operngong · Trgl. [h.] · 2 Beck. [m./t.] · chin. Beck. · 3 Tamt. [h./m./t.] · 2 Tamburims [beide h., aber unterschiedlich] · gr. Tr. · Tomt. [t.] · Rototom [sehr h.]; IV: Xyl. · Plattengl. [Cis, D, G] · Trgl. [h.] · Beck. [t.] · 2 Gongs [m]. · Tamt. [t.] · 2 Bong. · gr. Tr.) (4 Spieler) - Str. (4 · 0 · 0 · 6 · 8 [alle mit 5. Saite H])
Plus d'infos
Titre:
Antiphon
für Orchestergruppen
Edition:
Matériel d'exécution
Maison d'édition:
Schott Music
Year of composition:
2007 - 2008
Durée:
20 ′
Première:
27 février 2008 · Frankfurt/Main (D)
Alte Oper, Großer Saal
Musikalische Leitung: Paavo Järvi · hr-Sinfonieorchester
Alte Oper, Großer Saal
Musikalische Leitung: Paavo Järvi · hr-Sinfonieorchester
Travaux commandés :
Auftragswerk des Hessischen Rundfunks
Détails techniques
Numéro du produit:
LS 5208-01
Droits de livraison:
Pour le monde entier
Preview/Media Contents
Audio:
représentations
Antiphon
Chef d'orchestre: Daniel Harding
Orchestre: Sveriges Radios Symfoniorkester
17 novembre 2012 |
Berwaldhallen (Suède) , Berwaldhallen
15.00 h
Antiphon
Chef d'orchestre: Daniel Harding
Orchestre: Sveriges Radios Symfoniorkester
16 novembre 2012 |
Berwaldhallen (Suède) , Berwaldhallen — Première nationale
19.30 h
Antiphon
Chef d'orchestre: Andris Nelsons
Orchestre: City of Birmingham Symphony Orchestra
27 mai 2009 |
Birmingham (Royaume-Uni de Grande-Bretagne et Irlande du Nord) , Symphony Hall — Première nationale
19.30 h
Antiphon
Chef d'orchestre: Heinz Holliger
Orchestre: Orchestre National de Lyon
7 mars 2009 |
Lyon (France) , Auditorium
18.00 h
Antiphon
Chef d'orchestre: Heinz Holliger
Orchestre: Orchestre National de Lyon
6 mars 2009 |
Chambéry (France) , Espace Malraux
20.30 h
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