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Score only
Titel nach Uploader: Symphony No.5 'Posthumous' – Score only, B165
Instrumentierung |
Flöte, Piccoloflöte, Klarinette, Fagott, Oboe, Bassposaune, Tenorposaune, Horn, Trompete, Tuba, Geige, Bratsche, Cello, Kontrabass, Pauke, Bassklarinette, Schlaginstrumente |
Partitur für |
Sinfonieorchester |
Art der Partitur |
Partitur |
Satz, Nr. |
1 bis 4 von 4 |
Verleger |
Colin Bayliss |
Schwierigkeitsgrad |
Schwer |
Länge |
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
Titel nach Uploader: Symphony No.5 'Posthumous' - Instrumental parts, B165
Instrumentierung |
Flöte, Klarinette, Fagott, Oboe, Englischhorn, Bassposaune, Horn, Posaune, Trompete, Tuba, Geige, Bratsche, Cello, Kontrabass, Pauke, Bassklarinette, Schlaginstrumente |
Partitur für |
Sinfonieorchester |
Art der Partitur |
Stimmen |
Verleger |
Colin Bayliss |
Schwierigkeitsgrad |
Schwer |
Länge |
35'0 |
Jahr der Komposition |
2012 |
Genre |
Klassische Musik/Zeitgenössisch |
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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