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... between the lines / ... zwischen den Zeilen

... between the lines / ... zwischen den Zeilen

Chamber symphony for eleven players


  • Instrumentation: Ensemble
  • Edition: performance material

 
Description
The composition is monothematic; that is to say it has a single subject, as in fugue, played at the outset. It reappears in one form or another, throughout the composition, contrasted only, again as in fugue, by episodes of related, but different materials. Each “movement”, each with its own underlying speed and metre relates to the first as an augmentation or diminution of it; that is to say that the Subject appears in each section faster or slower than it is at first. I do not think that any piece described as a Chamber Symphony can hide its genealogy deriving from Schoenberg’s Op.9. That composition is famous firstly for its unified one-movement structure in four parts and secondly for the difficulty in balancing solo strings and a full and rich wind section. I hope my composition, scored for the Schubert Octet ensemble with the addition of a cornet, a second horn and a tuba will not incur the same difficulties. What else to say? the common expression, “reading between the lines” suggests that the reader understands from what he reads something that the writer of poem or prose or even letter, has not wanted or has wanted but not been able to spell out. But Listening between the Lines? Hearing the notes, the melodies and rhythms, even the harmonies and making something of these? Is this not enough? Does my title claim that there is something more to be obtained? I do not like the explicit and obvious in the music of the past, I look for the twist in the rope; or rather I do not look for but sometimes find where unexpectedly it leads. This composition written for the Scharoun Ensemble is for A. who unknowingly provided the title. Alexander Goehr
Details
Auftragswerk : Commissioned by the Berliner Philharmoniker
Content text: I Alla Marcia
II Scherzando
III Lento
IV Alla Marcia
Opus: op. 94
Performance duration: 15'0"
Publisher: Schott Music Ltd., London
Uraufführung : 28. Mai 2014 Berlin, Philharmonie, Kammermusiksaal (D) · Scharoun Ensemble; Mitglieder der Berliner Philharmoniker
Year of composition: 2013
instrumentation: cl.bsn-2hn.cornet.tba-str(1.1.1.1.1)
Performances
Conductor: Joel Sachs
Orchestra: New Juilliard Ensemble
2019-10-01 | New York, NY (United States of America), Peter Jay Sharp Theater
Conductor: Oliver Knussen
2015-04-25 | Birmingham (United Kingdom), CBSO Centre — 19:30
Conductor: Oliver Knussen
2014-11-08 | Cambridge (United Kingdom), King\'s College Chapel — 19:30 | national Premiere
2014-05-28 | Berlin (Germany), Philharmonie, Kammermusiksaal — 30 Jahre Scharoun Ensemble Berlin | World Premiere
The composition is monothematic; that is to say it has a single subject, as in fugue, played at the outset. It reappears in one form or another, throughout the composition, contrasted only, again as in fugue, by episodes of related, but different materials. Each “movement”, each with its own underlying speed and metre relates to the first as an augmentation or diminution of it; that is to say that the Subject appears in each section faster or slower than it is at first. I do not think that any piece described as a Chamber Symphony can hide its genealogy deriving from Schoenberg’s Op.9. That composition is famous firstly for its unified one-movement structure in four parts and secondly for the difficulty in balancing solo strings and a full and rich wind section. I hope my composition, scored for the Schubert Octet ensemble with the addition of a cornet, a second horn and a tuba will not incur the same difficulties. What else to say? the common expression, “reading between the lines” suggests that the reader understands from what he reads something that the writer of poem or prose or even letter, has not wanted or has wanted but not been able to spell out. But Listening between the Lines? Hearing the notes, the melodies and rhythms, even the harmonies and making something of these? Is this not enough? Does my title claim that there is something more to be obtained? I do not like the explicit and obvious in the music of the past, I look for the twist in the rope; or rather I do not look for but sometimes find where unexpectedly it leads. This composition written for the Scharoun Ensemble is for A. who unknowingly provided the title. Alexander Goehr
Auftragswerk : Commissioned by the Berliner Philharmoniker
Content text: I Alla Marcia
II Scherzando
III Lento
IV Alla Marcia
Opus: op. 94
Performance duration: 15'0"
Publisher: Schott Music Ltd., London
Uraufführung : 28. Mai 2014 Berlin, Philharmonie, Kammermusiksaal (D) · Scharoun Ensemble; Mitglieder der Berliner Philharmoniker
Year of composition: 2013
instrumentation: cl.bsn-2hn.cornet.tba-str(1.1.1.1.1)
Conductor: Joel Sachs
Orchestra: New Juilliard Ensemble
2019-10-01 | New York, NY (United States of America), Peter Jay Sharp Theater
Conductor: Oliver Knussen
2015-04-25 | Birmingham (United Kingdom), CBSO Centre — 19:30
Conductor: Oliver Knussen
2014-11-08 | Cambridge (United Kingdom), King\'s College Chapel — 19:30 | national Premiere
2014-05-28 | Berlin (Germany), Philharmonie, Kammermusiksaal — 30 Jahre Scharoun Ensemble Berlin | World Premiere