Dean, Brett: Fire Music (2011) 30'
Music for orchestra
Scoring
4(III,IV=picc).3(III=corA).3(III=bcl).3(III=dbn)-4.4.2.btrbn.1-timp.perc(4):I=vib/tam-t/SD/hi hat/whip/4tpl.bl/tpl bowl/3wine bottles/3tom-t/vibraslap/2tgl/whirly tube; II=marimba(4.3 octaves)/lg BD/SD/3susp.cym/1tuned gong/hi hat/tpl bowl/plastic water bottle/tamb/crot; III(orch Group I)=med thunder sheet/SD/glsp/3susp.cym/tpl bowl/1wine bottle/whirly tube; IV(orch Group II)=lg thunder sheet/SD/glsp/4susp.cym(incl. 1sizzle cym)/tpl bowl/1wine bottle/whirly tube-harp-pft-MIDI kbd-elec.gtr-strings(15.13.11.9.6); taken from above, 3 groups of players are to be situated in the hall: GROUP I: fl3.tpt3.perc3; GROUP II: fl4.tpt4.perc4; GROUP III: solo string quartet
World Premiere
11/10/2011
Konserthuset, Stora salen, Stockholm
Royal Stockholm Philharmonic Orchestra / Sakari Oramo
Press Quotes
“Fire Music is inspired by the bushfires that ravaged Australia a couple of years ago. It is possible, of course, to extricate this image from the musical experience, but otherwise it was not difficult to hear how the fire took holdof the grass, leapt up to the treetops and set entire forests aflame, before the flutes – spread out over stage and gallery – sowed the seeds of a more beautiful world.”
Dagens Nyheter
“a fascinating, effective piece, brilliantly performed ... The ominously rumbling introduction creates the sensation that something terrible is coming this way, a feeling that is enhanced by an electric guitar solo. The combination of large orchestra and three instrumental groups distributed around the auditorium builds a sonic topography that reinforces the drama of the piece.”
Svenska Dagbladet
“Dean doesn’t stop at the ashes and smoke – the very devastation – but studies the role of fire in Australia’s history, in the smoking rituals of the aborigines and other traditional ceremonies. He often takes this kind of dramatic historical event as the departure point of his compositions, but then lets the music take over on the strength of its own inherent logic.”
Arbetarbladet
News stories for this title :
Brett Dean's new Fire Music at Australian Ballet and Total Immersion day in London
Brett Dean: interview about new orchestral work Fire Music
Brett Dean in Scandinavia: Fire Music premiere in Stockholm
Music for orchestra
Scoring
4(III,IV=picc).3(III=corA).3(III=bcl).3(III=dbn)-4.4.2.btrbn.1-timp.perc(4):I=vib/tam-t/SD/hi hat/whip/4tpl.bl/tpl bowl/3wine bottles/3tom-t/vibraslap/2tgl/whirly tube; II=marimba(4.3 octaves)/lg BD/SD/3susp.cym/1tuned gong/hi hat/tpl bowl/plastic water bottle/tamb/crot; III(orch Group I)=med thunder sheet/SD/glsp/3susp.cym/tpl bowl/1wine bottle/whirly tube; IV(orch Group II)=lg thunder sheet/SD/glsp/4susp.cym(incl. 1sizzle cym)/tpl bowl/1wine bottle/whirly tube-harp-pft-MIDI kbd-elec.gtr-strings(15.13.11.9.6); taken from above, 3 groups of players are to be situated in the hall: GROUP I: fl3.tpt3.perc3; GROUP II: fl4.tpt4.perc4; GROUP III: solo string quartet
World Premiere
11/10/2011
Konserthuset, Stora salen, Stockholm
Royal Stockholm Philharmonic Orchestra / Sakari Oramo
Press Quotes
“Fire Music is inspired by the bushfires that ravaged Australia a couple of years ago. It is possible, of course, to extricate this image from the musical experience, but otherwise it was not difficult to hear how the fire took holdof the grass, leapt up to the treetops and set entire forests aflame, before the flutes – spread out over stage and gallery – sowed the seeds of a more beautiful world.”
Dagens Nyheter
“a fascinating, effective piece, brilliantly performed ... The ominously rumbling introduction creates the sensation that something terrible is coming this way, a feeling that is enhanced by an electric guitar solo. The combination of large orchestra and three instrumental groups distributed around the auditorium builds a sonic topography that reinforces the drama of the piece.”
Svenska Dagbladet
“Dean doesn’t stop at the ashes and smoke – the very devastation – but studies the role of fire in Australia’s history, in the smoking rituals of the aborigines and other traditional ceremonies. He often takes this kind of dramatic historical event as the departure point of his compositions, but then lets the music take over on the strength of its own inherent logic.”
Arbetarbladet
News stories for this title :
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