Die Nacht kommt
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Orchestra Victoria conducted by Richard Mills |
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Programme Note
Die Nacht kommt was written for the 2004 Symphony Australia Composer Development Program between July and November 2004. This piece is part of a trio of works that use similar musical elements to emphasise various representations of Night. Die Nacht kommt conveys imagery of a Hazy and Foggy Night and achieves this through blurred voicing and “out-of-phase” melodic lines and quartertonal scales.
Artificial string harmonics and resonant metallic percussion opens the work accompanied at first by Violas and later Oboes and muted Trumpets. As this introduction progresses, quartertones become more prominent and emerge from several harmonic fields. The main body of the work introduces the first quartertonal scalic lines. Permeations then occur between the previous gestures and several harmonic fields based on 2 chords and their inversions, all of these including quartertones as part of their structure.
Gradually, these musical elements increase in texture and density towards the final section of the work. This concluding section involves faster tempi, re-working of the previous material and increased layering of these ideas resulting in an accumulation of energy and material before the work’s final climax.
Orchestration: 3 Fl (3 doubling Picc), 3 Ob, 3 Cl, 3 Bsn, 4 Hn, 2 Tpt, Tbn, Bss Tbn, Timp, 3 Perc, Strings
Performances of this work:
29 Jan 2005: Iwaki Auditorium, Melbourne. Featuring Orchestra Victoria and Richard Mills.
Programme Note
Die Nacht kommt was written for the 2004 Symphony Australia Composer Development Program between July and November 2004. This piece is part of a trio of works that use similar musical elements to emphasise various representations of Night. Die Nacht kommt conveys imagery of a Hazy and Foggy Night and achieves this through blurred voicing and “out-of-phase” melodic lines and quartertonal scales.
Artificial string harmonics and resonant metallic percussion opens the work accompanied at first by Violas and later Oboes and muted Trumpets. As this introduction progresses, quartertones become more prominent and emerge from several harmonic fields. The main body of the work introduces the first quartertonal scalic lines. Permeations then occur between the previous gestures and several harmonic fields based on 2 chords and their inversions, all of these including quartertones as part of their structure.
Gradually, these musical elements increase in texture and density towards the final section of the work. This concluding section involves faster tempi, re-working of the previous material and increased layering of these ideas resulting in an accumulation of energy and material before the work’s final climax.
Orchestration: 3 Fl (3 doubling Picc), 3 Ob, 3 Cl, 3 Bsn, 4 Hn, 2 Tpt, Tbn, Bss Tbn, Timp, 3 Perc, Strings
Performances of this work:
29 Jan 2005: Iwaki Auditorium, Melbourne. Featuring Orchestra Victoria and Richard Mills.