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