Ketting, Otto

Otto Ketting was born in Amsterdam on September 3, 1935. He studied trumpet at the Conservatory of The Hague, and composition with Karl Amadeus Hartmann in Munich. He was active as a ...

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Symphony no. 3 : for orchestra, 1990 / Otto Ketting

Publisher: Amsterdam: Donemus, cop. 1990
Publisher's number: 06049
Genre: Orchestra
Subgenre: Orchestra
Scoring: fl(pic) 2fl 3ob 2cl cl(cl-b) 3fg 4h 4trp 3trb tb timp 4perc hp pf(cel) str
Remarks: T.g.v. het 30-jarig bestaan van de VARA-matinee. - Tijdsduur: ca. 35'
Duration: 35'00"
Year of composition: 1990
Status: fully digitized (real-time delivery)

Program note (English): Musical reason and primary inspiration are the last measures written by Maurice Ravel: the final chord of his orchestra work ' Ronsard à son âme'. The original form - voice and piano - dates back to 1924, but in 1935, the composer made an orchestral version. Ravel was by that time already so ill that he dictated the instrumentation to Manuel Rosenthal. The final chord with its stacking of fifths and for Ravel, the unusual usage of the vibraphone are the departure points for this symphony where Ravel-givens are used strictly as musical structure, not as an impressionistically ambiance. Slowly a developing melody halts - now for approximately one second a Ravel-quotation in original form is heard-thereafter accompanied by a harmonious attire (oboes and horns) continue the plea. These three aspects of one given stipulate the course of the entire work. I am rather tradition-conscious, i.e. I am only capable of creating something new from the tradition or against the tradition,
hence that my symphony is especially related to the symphonic form. Important thereby was finding a 'new' tonality, a large line along which everything takes place; a perceptible logic. In this way the first part is in A major - without pronouncing this tonal center entirely. The second part D-flat major and the finale in A and D-flat simultaneously, of the at the same time, culminate in the final chord uniting both tonalities. The symphonic form in a polemical sense, there where in the adagio an echo of Mahler resounds. The same manner of handling the past is in the song cycle 'The Light of the Sun'. - OTTO KETTING

Sheet Music
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