Kats-Chernin, Elena: Retonica (1993) 13'
for orchestra
Scoring
3(I=picc).3.2.bcl.2.dbn-4.3.3.1-perc(3):5tpl.bl/t.bells/SD/sand bl/ anvil/chimes/crot/2stones/darabuka/tam-t/marimba/vib/bell tree-harp- hpd(amplified)-cel-prepared pft-2button accordions(or 2kbd)- strings(12.10.8.8.6)
Composer's Notes
As I was writing this piece, I became interested in thinking about the whole notion of tonality. I had spent many years prior to this doing experimental works and I found that I was being drawn back to the idea of a tonic, which for me is always ‘do’ or C, and also the idea of a tonic as a restorative or re-energizing element. I wrote the work just before my ensemble piece Clocks, and in many ways the two works are related: both contain sections of clock-like mechanistic material. This was one of the first big pieces I had written to that date, and in some ways this reassessment of tonality was a great release for me -- it was the first of many works that came like a flood in the following years. It is also one of the first works where I reduced all the materials to their barest and simplest form. I used that distilled point of single focus as a base (or tonic) over which I re-assembled the work, always mindful to not lose that simplicity I had worked so hard to gain.
Elena Kats-Chernin
Reproduction Rights
This programme note can be reproduced free of charge in concert programmes with a credit to the composer
for orchestra
Scoring
3(I=picc).3.2.bcl.2.dbn-4.3.3.1-perc(3):5tpl.bl/t.bells/SD/sand bl/ anvil/chimes/crot/2stones/darabuka/tam-t/marimba/vib/bell tree-harp- hpd(amplified)-cel-prepared pft-2button accordions(or 2kbd)- strings(12.10.8.8.6)
Composer's Notes
As I was writing this piece, I became interested in thinking about the whole notion of tonality. I had spent many years prior to this doing experimental works and I found that I was being drawn back to the idea of a tonic, which for me is always ‘do’ or C, and also the idea of a tonic as a restorative or re-energizing element. I wrote the work just before my ensemble piece Clocks, and in many ways the two works are related: both contain sections of clock-like mechanistic material. This was one of the first big pieces I had written to that date, and in some ways this reassessment of tonality was a great release for me -- it was the first of many works that came like a flood in the following years. It is also one of the first works where I reduced all the materials to their barest and simplest form. I used that distilled point of single focus as a base (or tonic) over which I re-assembled the work, always mindful to not lose that simplicity I had worked so hard to gain.
Elena Kats-Chernin
Reproduction Rights
This programme note can be reproduced free of charge in concert programmes with a credit to the composer
Mailing List
Sign up for news updates and offers via email
SIGN UP
Featured Publication
Rachmaninoff: Paganini Rhapsody
The sparkling Rhapsody on a Theme of Paganini for piano and orchestra is included in the Masterworks Library of full scores, ideal for conductors, students and music lovers.
READ MORE