Heppener, Robert

Robert Heppener was born in Amsterdam in 1925. He died on August 25, 2009 in Bergen. He studied piano with Jan Odé and Johan van den Boogert at the Conservatory of ...

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Symphonie / Robert Heppener

Publisher: Amsterdam: Donemus, cop. 1957
Publisher's number: 03925
Genre: Orchestra
Subgenre: Orchestra
Scoring: 3333 4221 timp perc pf str
Remarks: Voor orkest. - Jaar van comp.: 1952. - Tijdsduur: 20'
Duration: 20'00"
Year of composition: 1952
Status: fully digitized (real-time delivery)

Program note (English): The Symphonie, though consisting of various sections - discernable form the variations indications of tempo - is meant as a curve, which, starting from one theme, finally returns to its starting point after having gone through many alternations. Although I afterwards discovered, that the melodic ideas are closely related to each other, I never intended "to write a symphony upon one theme". Above all, it was the psychical development that in my opinion should provide the unity. Lyricism predominates and this is only accentuated by the few dramatic explosions. At one moment, however, dramatic elements are predominating, i.e. where the 'alla danza' (started in the manner of a scherzo by piano, clarinet, tambour de basque and pizzicati of the strings) becomes more and more demonic and an explosion follows which seems to say: 'now everything is smashed into pieces'. Piano and percussion comes at this point into the foreground. Soon after this the Andante follows. The end of the
Symphonie is played pianissimo, just as the beginning. But whereas the opening of the piece suggests an expectation, evoked from afar, the ending rather indicates a prostration, from which one may conclude that the dramatic explosions have caused more than they seemed to do at the beginning. For those listeners who prefer to be guided by means of a formal scheme, the following notes may be useful: the symphony opens with a slow introduction, which is followed by a sonata movement, the start of which is a trumpet melody; the development embraces the sections marked più mosso, alla danza and andante. At the end of the recapitulation, where the second subject leads to a climax, the melody of the introduction - now played fortissimo - is heard again. It concludes the Symphonie pianissimo, after a loud diminuendo. - ROBERT HEPPENER

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