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Symphony No.5 'Posthumous', B165

Classical/Symphonic music • 2011
 
 
   
 

Score only

Title by uploader: Symphony No.5 'Posthumous' – Score only, B165


15.00 USD

Seller Colin Bayliss
PDF, 3.38 Mb ID: SM-000223442 Upload date: 14 Mar 2015
Instrumentation
Flute, Flute piccolo, Clarinet, Bassoon, Oboe, Trombone basso, Trombone tenor, Horn, Trumpet, Tuba, Violin, Viola, Cello, Double bass, Timpani, Bass Clarinet, Percussion
Scored for
Symphonic orchestra
Type of score
Full score
Movement(s)
1 to 4 from 4
Publisher
Colin Bayliss
Difficulty
Difficult
Duration
35'30
This work was planned since 2008, but not begun to be notated until January 2011
and only completed in December 2011. It is called the “Posthumous” for three
reasons: a) because it might not have been completed before the composer's death,
b) because it might then not be performed before the composer's death and c) it is
a journey into a composer's posthumous reputation, beginning with the moment of
death through relative neglect to an apotheosis of recognition followed by an
eventual reminder that “all is vanity”.
1. Adagio - allegro
The opening chord is of alphabetic notation of DEATH and CB which returns at the end of the
work. The following equale on brass derives from the end of String Quartet No.6 which is itself a
remembered dream by the composer of his own death. The two contrasting subjects in 3/4, one
diatonic and melodic, the other textured, are developed contrapuntally and at length, a process
which continues during the recapitulation until the re-worked diatonic melody triumphs, and
having done so, the movement ends peacefully. During the movement, and indeed throughout
the whole work, the cor anglais and the bass clarinet are used together as reminders of
mortality.
2. Andante
This is the first of the two shorter “retrospective” movements, beginning with the opening of
one of the composer’s earlier songs which acts as the theme of a slow rondo .The cor anglais
and bass clarinet have a large role in this movement.
3. Wobblefunk and Tango
This movement is a re-working of a movement from the Conversation Concerto No.8, slightly
re-orchestrated for the scherzo section with a few extra bars and heavily re-orchestrated for the
Trio (tango) section. “Wobblefunk” is a term invented by the composer’s son Edmund to
describe a type of textured crossover music which he wrote as a student. The composer
adapted this in a form of bar-by-bar palindrome with his favourite tango form acting as the trio
section.
4. Tempo di Marcia
The finale moves from a re-working of a Housman song-setting through various contrapuntal
sections (including part of the last movement of the composer’s wind quintet) to a C major
apotheosis labelled in the manuscript “No more depressing dodecaphony! No more Mahlerian
misery! The future belongs to me!” The final coda however quietens down with a tune of
utmost banality and is headed “Vanitas Vanitatum, Omnia Vanitas” before fading into the
mists of time and forgetfulness.
The instrumental parts are also available on this site.
  • Comments

Instrumental parts

Title by uploader: Symphony No.5 'Posthumous' - Instrumental parts, B165


72.00 USD

Seller Colin Bayliss
ZIP, 2.52 Mb ID: SM-000223484 Upload date: 15 Mar 2015
Instrumentation
Flute, Clarinet, Bassoon, Oboe, Cor anglais, Trombone basso, Horn, Trombone, Trumpet, Tuba, Violin, Viola, Cello, Double bass, Timpani, Bass Clarinet, Percussion
Scored for
Symphonic orchestra
Type of score
Parts
Publisher
Colin Bayliss
Difficulty
Difficult
Duration
35'0
Year of composition
2012
Genre
Classical/Contemporary
This work was planned since 2008, but not begun to be notated until January 2011
and only completed in December 2011. It is called the “Posthumous” for three
reasons: a) because it might not have been completed before the composer's death,
b) because it might then not be performed before the composer's death and c) it is
a journey into a composer's posthumous reputation, beginning with the moment of
death through relative neglect to an apotheosis of recognition followed by an
eventual reminder that “all is vanity”.
1. Adagio - allegro
The opening chord is of alphabetic notation of DEATH and CB which returns at the end of the
work. The following equale on brass derives from the end of String Quartet No.6 which is itself a
remembered dream by the composer of his own death. The two contrasting subjects in 3/4, one
diatonic and melodic, the other textured, are developed contrapuntally and at length, a process
which continues during the recapitulation until the re-worked diatonic melody triumphs, and
having done so, the movement ends peacefully. During the movement, and indeed throughout
the whole work, the cor anglais and the bass clarinet are used together as reminders of
mortality.
2. Andante
This is the first of the two shorter “retrospective” movements, beginning with the opening of
one of the composer’s earlier songs which acts as the theme of a slow rondo .The cor anglais
and bass clarinet have a large role in this movement.
3. Wobblefunk and Tango
This movement is a re-working of a movement from the Conversation Concerto No.8, slightly
re-orchestrated for the scherzo section with a few extra bars and heavily re-orchestrated for the
Trio (tango) section. “Wobblefunk” is a term invented by the composer’s son Edmund to
describe a type of textured crossover music which he wrote as a student. The composer
adapted this in a form of bar-by-bar palindrome with his favourite tango form acting as the trio
section.
4. Tempo di Marcia
The finale moves from a re-working of a Housman song-setting through various contrapuntal
sections (including part of the last movement of the composer’s wind quintet) to a C major
apotheosis labelled in the manuscript “No more depressing dodecaphony! No more Mahlerian
misery! The future belongs to me!” The final coda however quietens down with a tune of
utmost banality and is headed “Vanitas Vanitatum, Omnia Vanitas” before fading into the
mists of time and forgetfulness.

The SCORE also available separately on this site.
  • Comments
 
 
   
 
 
   
 
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