Schat, Peter

Peter Schat is one of the most colourful and widely-known Dutch composers of the 20th century. He was born in Utrecht, the son of a Protestant baker, and knew from ...

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Entelechie I : für fünf Instrumentengruppen, (1960-1961) / Peter Schat

Publisher: Amsterdam: Donemus, cop. 1961
Publisher's number: 06631
Genre: Orchestra
Subgenre: Large ensemble (12 or more players)
Scoring: 1111 0210 2perc hp 4vl 3vla 5vc cb
Remarks: Voor fluit, hobo, klarinet, fagot, 2 trompetten, trombone, harp, 4 violen, 3 altviolen, 5 cello's, contrabas en 2 slagwerkers. - Op. 12. - In opdracht van de Südwestfunk Donaueschingen. - Tijdsduur: ca. 15'
Duration: 15'00"
Number of players: 23
Year of composition: 1961
Status: fully digitized (real-time delivery)

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

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