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Fantasia for Double Orchestra (1983-84) |
The title of my piece Fantasia for Double Orchestra refers to the antiphonal separation of two identical 'mirror-image' orchestras placed left and right of the performance area. Each orchestra consists of double woodwind (with usual doublings), 2 horns, 2 trumpets, 2 trombones, harp and strings (8 first violins, 8 second violins, 6 violas, 6 cellos, 4 double basses). In addition to the two orchestras there is a large battery of percussion (4 players) situated at the back of the platform, with the timpani player in the centre. This unusual layout determined the musical substance of the composition, with the intention of creating a constantly varying 'kaleidoscopic' spatial effect between the two orchestras.
The piece is divided into three movements which play without a break. The first movement begins with a low pedal E flat on double basses and contrabassoons in both orchestras. This forms the basis for a succession of chords (rhythmically articulated by two pulsating bass clarinets) which slowly unfold, reach an apex (in the centre of the two orchestral groups), dissolve, and then reform themselves. This initial idea, which is later varied, sets up a slow acceleration process lasting the entire movement. It reaches its climatic conclusion on a unison B flat from all the orchestra.
The tension that is generated in the first movement is released in the second. Here the tutti forces are vastly reduced, presenting an entirely new sound-world. The music is very fast and concentrates almost exclusively on high instument sonorities. An angular melodic line is introduced on solo woodwind instruments and two solo trumpets; against this, eight solo violins (four in each orchestra) underline the rhythmic nature of the music. The melodic line is broken up and projected antiphonally from left to right (similar in style to Webern's 'Klangfarben' idea). It is subjected to gradual elaboration and development, until it reappears in a totally new, embellished form on four solo violins (two from each orchestra), accompanied by low shimmering sounds from the marimba, violas and clarinets. This chamber-like texture proliferates into a huge orchestral tutti and suddenly the music freezes, the momentum temporarily subdued. After a brief suspended section, the music is suddenly brought back to life. The initial melodic line reappears, this time in antiphonal strings, accompanied by whirling high woodwind music. As this recapitulation takes place, short punctuating attacks from low wind, brass and strings cut up the movement and begin to dominate, developing into a violent hocketing rhythmic pattern. This is suddenly cut off, introducing the third movement.
Here the musical forces are reduced initially to two harps, solo violas and cellos and predominant roles for cor anglais and alto flute. Out of strange, mysterious chords in the strings (shifting between both orchestras), the two solo woodwind instruments engage in a duo. The cor anglais on the left provides a melodic shape which the alto flute on the right gently echoes and decorates. The music reaches its climax once again on a unison Bflat (this time in a different register). The hocketing attacks suddenly reappear and arrest any further development. Out of a multitude of chromatic figurations, played at varying speeds in cannon by the two orchestras, the low E flat pedal returns. Out of this pedal note the opening chord of the piece appears, this time dying away to nothing.
Fantasia for Double Orchestra was begun in December 1983 and finished in September 1984.
© Simon Bainbridge