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Antiphon
für Orchestergruppen
orchestra
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: Performance material
Product Details
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])
More Information
Title:
Antiphon
für Orchestergruppen
Edition:
Performance material
Publisher/Label:
Schott Music
Year of composition:
2007 - 2008
Duration:
20 ′
World Premiere:
February 27, 2008 · Frankfurt/Main (D)
Alte Oper, Großer Saal
Conductor: Paavo Järvi · hr-Sinfonieorchester
Alte Oper, Großer Saal
Conductor: Paavo Järvi · hr-Sinfonieorchester
Commissioned work :
Auftragswerk des Hessischen Rundfunks
Technical Details
Product number:
LS 5208-01
Delivery rights:
Worldwide
Preview/Media Contents
Audio:
Performances
Antiphon
Conductor: Daniel Harding
Orchestra: Sveriges Radios Symfoniorkester
November 17, 2012 |
Berwaldhallen (Sweden) , Berwaldhallen
15.00 h
Antiphon
Conductor: Daniel Harding
Orchestra: Sveriges Radios Symfoniorkester
November 16, 2012 |
Berwaldhallen (Sweden) , Berwaldhallen — National Premiere
19.30 h
Antiphon
Conductor: Andris Nelsons
Orchestra: City of Birmingham Symphony Orchestra
May 27, 2009 |
Birmingham (United Kingdom of Great Britain and Northern Ireland) , Symphony Hall — National Premiere
19.30 h
Antiphon
Conductor: Heinz Holliger
Orchestra: Orchestre National de Lyon
March 7, 2009 |
Lyon (France) , Auditorium
18.00 h
Antiphon
Conductor: Heinz Holliger
Orchestra: Orchestre National de Lyon
March 6, 2009 |
Chambéry (France) , Espace Malraux
20.30 h
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