related works
Genre:
Vocal music
Subgenre:
Mixed choir and orchestra
Scoring:
sopr sopr-m ten bar GK4 2fl fl(pic) 2ob ob(eh) 3cl 3fg fg(cfg) 4h 3trp 4trb 5perc steelband 2hp str
Quilt : voor blaasensemble, opus 43, 1995 / Leo Samama
Genre:
Orchestra
Subgenre:
Large ensemble (12 or more players)
Scoring:
3222 2sax-a sax-t 2331 pf cb
Meditazione III : for ensemble and soundtracks, opus 100, 1996 / Jo van den Booren
Genre:
Orchestra
Subgenre:
Large ensemble (12 or more players)
Scoring:
1111 1000 perc 2vl vla vc cb cd
Metrum : for ensemble, 1995 / arr.: John Godfrey, Diderik Wagenaar
Genre:
Orchestra
Subgenre:
Large ensemble (12 or more players)
Scoring:
fl(pic) WX11wind contr. 3sax vibr el.g el.g-b acc 3keyboards el.vl el.vc
composition
Entelechie I : für fünf Instrumentengruppen, (1960-1961) / Peter Schat
Other authors:
Schat, Peter
(Composer)
Description:
Program note (English): [Premiere: 1961 - Donaueschingen - Südwestfunkorchester cond. Hans Rosbaud] - 'Entelechy' is the condition in which a potentiality has become an actuality. I am using the term here as a description of the technique of composition, in that a complete organism is developed from a small musical motif. To demonstrate that here, in a programme note, is just as useless as it is confusing - as everyone knows from experience. What then shall I do? I should like to talk about the emotion evoked in me by an 'isolated musical object' or about the 'attacking' of musical motifs. I have however already been talking about this in this score. A description in words would probably increase misunderstandings considerably. I shall therefore say a few words to the wise. It is the mounting and isolation of fragments in which can be clearly distinguished. The quoting of such fragments in a milieu of 'spots of sound'. The raking through of causal continuity which is a heritage from classical tonal
thought. (Listen to Mozart in order to keep this conflict alive). Finally, the increasing importance of silence. I wrote this Entelechy during the period I was having lessons from Boulez (1960-1961). It is in the Stravinskian sense a 'dissertation' about Boulez, a creative reaction. The whole cycle of 3 Entelechies is conceived for five groups of instruments placed in different positions. In the case of the performance of one part only such a placing would take up too much time in proportion to the duration of that part, so that provision has been made for a version for a normally placed ensemble. - PETER SCHAT