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Symphony No 3 (Suñer)

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José Suñer-Oriola

José Suñer-Oriola


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Subtitle: Phobos


General Info

Year: 2010
Duration: c. 18:00
Difficulty: VI (see Ratings for explanation)
Publisher: Rivera Editores
Cost: Score and Parts (print) - €190.00   |   Score Only (print) - €70.00


Instrumentation

(Needed - please join the WRP if you can help.)


Errata

None discovered thus far.


Program Notes

Similar to the basic concept to my first symphony (Chamber Symphony No. 1), Phobos expresses its own originality by embracing the aesthetic realm of 18th century symphonies, with the exception of its structural concept, which is based on the theme and variations form.

The musical idea took root and began to develop in a manner similar to my second symphony, Venus de las Luces (Venus of the Lights), which is a symphony in two movements.

I began with the idea of creating a piece of duality – a two-movement work based on the two moons of Mars: Phobos and Deimos. However, as the developmental process evolved it instead yielded a work less extensive in instrumentation and duration called Canticum Lunaris, which became the structural basis of Phobos.

Canticum Lunaris is a 15-minute work based on a theme with eight variations, one transition, and a coda. Phobos embraces a similar construction, with 12 variations and two transitions and coda, with increasingly demanding instrumentation and technicality in the variations.

Phobos, from the Greek Φóβoς, meaning fear/phobia/panic, is the largest of the two moons orbiting the planet Mars. According to Greek mythology he was the son of Ares and Aphrodite, and was himself the personification of fear and horror.

Conceived as a symphony in one single movement in the style of the earliest symphonies of the 18th century, but structurally and motivically developed as a theme and variations, Phobos begins its thematic structure with the presentation of a leitmotiv of I-VII-III over the secondary dominant of an inferred spatial tonality (a term used to refer to the basic identity cues of a tonality which do not behave as expected in the developmental process).

In the introductory phase, various alphanumeric combinations are created based on a symbiotic representation between the letters from the title of the work and an Eb chromatic scale, both as rhythmic- melodic figures in the woodwinds, and as some of the chordal constructions in the brass. The variations that follow are constructed along the lines of the classic systems of musical development.

- Program Note by World Association of Symphonic Bands and Ensembles (WASBE)


Awards


Commercial Discography

None discovered thus far.


Media


State Ratings

None discovered thus far.


Performances

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Works for Winds by this Composer


Resources