related works
Canti carnascialeschi : per coro da camera a cappella / Robert Heppener
Genre:
Vocal music
Subgenre:
Mixed choir
Scoring:
GK4
Genre:
Orchestra
Subgenre:
Orchestra
Scoring:
3343 4432 4Wag-tb timp perc str
Noises in the night : homage to Degawanidah ("The peacemaker"), for orchestra / Marijn Simons
Genre:
Orchestra
Subgenre:
Orchestra
Scoring:
fl(pic) fl(pic fl-a) fl(fl-b) 2ob ob(eh) 2cl cl(cl-b) cl(cl-b cl-cb) fg 2fg(cfg) 4h 3trp 3trb tb 5perc str
Greetings from Holland : suite for orchestra, (1970) / Nico Schuyt
Genre:
Orchestra
Subgenre:
Orchestra
Scoring:
2222 2100 timp perc hp(cel)/pf(cel) str
composition
Symphonie / Robert Heppener
Other authors:
Heppener, Robert
(Composer)
Description:
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 piĆ¹ 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