related works
Anathema : (opus 19), for piano, (1969) / Peter Schat
Genre:
Chamber music
Subgenre:
Piano
Scoring:
pf
Träff : for double wind quintet, double bass clarinet and double bass, 1995 / Geert van Keulen
Genre:
Orchestra
Subgenre:
Large ensemble (12 or more players)
Scoring:
2232 2000 cb
Groter, langer, harder! ... Book 1 : for ensemble, 1999-2005 / Chiel Meijering
Genre:
Orchestra
Subgenre:
Large ensemble (12 or more players)
Scoring:
2010 2sax 1(-2)121 perc el.g pf el.cb
The Bare Fact : = (Het ontblote feit), for ensemble, 1989/1991, revision 2008 / Chiel Meijering
Genre:
Orchestra
Subgenre:
Large ensemble (12 or more players)
Scoring:
fl fl(pic) cl 2sax h trp 2trb tb drums el.g el.g-b pf
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