Andriessen, Louis: Symphony for open strings (1978) 25'
for 12 solo string players
Scoring
strings(5.0.2.3.2).
Abbreviations (PDF).
Territory
This work is available from Boosey & Hawkes for the world.
Composer's Notes
The open-string orchestra consists of twelve soloists. The ensemble has all the chromatic tones over a range of nearly four octaves at its disposal. But for a melody of four consecutive tones four players are required.
The work was written for a group of string players at the Conservatory, a kind of teaching project for ensemble playing and counting.
As regards the composition technique, I employed symphonic procedures: recurring motives, a developing musical motion, and something like a recapitulation. I had not used techniques like these since the fifties, and they could be my answer to the neo-romantic movement: young composers writing once again for the symphonic orchestra. In this sense the Symphony is ambiguous, using ‘symphonic’ techniques while an open-string orchestra will never sound like a real symphony orchestra.
This work has benefited from that discrepancy – in other words, for a symphony orchestra I would have written a different work.
Louis Andriessen
Reproduction Rights
This programme note can be reproduced free of charge in concert programmes with a credit to the composer
for 12 solo string players
Scoring
strings(5.0.2.3.2).
Abbreviations (PDF).
Territory
This work is available from Boosey & Hawkes for the world.
Composer's Notes
The open-string orchestra consists of twelve soloists. The ensemble has all the chromatic tones over a range of nearly four octaves at its disposal. But for a melody of four consecutive tones four players are required.
The work was written for a group of string players at the Conservatory, a kind of teaching project for ensemble playing and counting.
As regards the composition technique, I employed symphonic procedures: recurring motives, a developing musical motion, and something like a recapitulation. I had not used techniques like these since the fifties, and they could be my answer to the neo-romantic movement: young composers writing once again for the symphonic orchestra. In this sense the Symphony is ambiguous, using ‘symphonic’ techniques while an open-string orchestra will never sound like a real symphony orchestra.
This work has benefited from that discrepancy – in other words, for a symphony orchestra I would have written a different work.
Louis Andriessen
Reproduction Rights
This programme note can be reproduced free of charge in concert programmes with a credit to the composer
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