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Out of Earth

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Oliver Waespi

Oliver Waespi


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General Info

Year: 2016
Duration: c. 39:00
Difficulty: VI (see Ratings for explanation)
Publisher: Beriato Music
Cost: Score and Parts - Unknown


Movements

1. Largo – Agitato - 16:00
2. Adagio - 10:55
3. Energico - 11:10


Instrumentation

Full Score
C Piccolo/Flute III
Flute I-II
Oboe I-II
English Horn
Bassoon I-II
Contrabassoon (optional)
E-flat Soprano Clarinet
B-flat Soprano Clarinet I-II-III
E-flat Alto Clarinet
B-flat Bass Clarinet
B-flat Contrabass Clarinet (optional)
E-flat Alto Saxophone I-II
B-flat Tenor Saxophone
E-flat Baritone Saxophone
B-flat Bass Saxophone (optional)
B-flat Trumpet I-II-III-IV
Horn in F I-II-III-IV
Trombone I-II-III-IV
Euphonium I-II
Tuba
String Bass
Piano
Harp
Timpani
Percussion I-VI

(percussion detail desired)


Errata

None discovered thus far.


Program Notes

Out of Earth is a free musical exploration of creation mythology in Ovid's Metamorphoses’. In this - as in other mythologies - the path of the human race from a past golden age over the destruction by the flood up to its new creation from the earth. In the course of the composition process my music has emerged from these images and taken their own path.

The first movement begins with spherical, indeterminate sounds, a distant memory to a past epoch, perhaps also to the "geniuses" in the sense of Holderlin The fateful element, something which has been removed from the present, something that cannot be grasped. This atmosphere is symbolically amplified by echoes of Schubert 's song Rückblick from the Winterreise in the solo oboe. Subsequently, duller, harder sounds develop in the metal sheet, which a further age in Ovid's epic - the silver, bronze and iron - evoke before a dramatically outgoing music, which dominates the rest of the first movement. Associations develop into one flood, regularly interspersed with music of memory. After a collapse the sentence ends in grief over the destruction.

The atmosphere of grief is resumed at the beginning of the second movement and becomes a kind elegy further developed. Here, fragmentary gestures of individual soloists are increasingly connected to a broad sound field in which once more motifs from Schubert's "retrospect" appear, here no longer set as a chamber music, but in the hymnic gesture to the entire orchestra. After a further elegiac section, the music suddenly changes: As if the sea god Triton of the Flood had to stop, the solo horn now intones a new, more brightly colored motif series, which already suggests the last movement. This horn motif is further developed by other soloists, before they turn it over to the entire ensemble and thus assume a broader, spatial dimension. A quiet line in flute, horn, and oboe finally leads to the end.

In the third movement the music is reassembled, as it were. It loses part of its Lyrical moderate vocalism - a return to the golden age is not up for debate - but gains in rhythmic energy and direction and is thus "grounded" to a certain extent. It appears partly in direct, heavy and rough gestures and so again referring to Ovid, who writes that we are a hard sex, accustomed to labor. At the same time, however, increasingly elastic, forward-directed rhythms develop. As a symbol of the rhythmic change of the music a fragment from Herbie Hancock's Chameleon appears, also a music that comes from a need for more "grounding". This creates an unlikely encounter with the lyrical music before, a strong contrast, which in turn evokes the spirit of the exuberant and colorful poetry in Ovid's Metamorphoses. After some reminiscences to earlier topics, work accelerates and reaches for a moving end.

- Program Note (in translation) by composer


Commercial Discography


State Ratings

None discovered thus far.


Performances

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Works for Winds by This Composer


Resources

None discovered thus far.