Boosey & Hawkes Composer News
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Neuwirth, Olgalocus...doublure...solus - (orchestral version) (2001) 25'
for solo piano and orchestra

Scoring
4(I,II=picc).2.4(I,II=Ebcl).2bcl.2(I=dbn)-2(I=mouth org).2(I,II=picctpt).2(I=mouth org).1(=mouth org)-perc(3):I=metal spring(lg)/xyl/SD/crot(set)/2gongs/2cowbells/tam-t(lg)/tgl(med)/tamb/steel dr/thunder sheet(thin); II=steel spring(med)/vib/glsp/crot(set)/2gongs/2cowbells/tam-t(med)/t.bells/chimes/steel dr/thunder sheet(thin); III=BD/vib/glsp/maraca(sm)/tgl(sm)/tam/gong-sampler(elec.pft/cel)-strings(6.6.6.4.4; db1=mouth org).
Abbreviations (PDF).

Territory
This work is available from Boosey & Hawkes for the world.

World Premiere
2/8/2002
De Singel, Antwerp
Thomas Larcher, piano / Flanders Philharmonic Orchestra / Olari Elts


Programme Note      Deutsch
A programme note by Stefan Drees is available on request at composers.germany@boosey.com

Press Quotes      Deutsch
"In seven movements, Neuwirth explores a gamut of piquant sonorities and aggressive or quizzical relationships between solo piano and a novel array of instruments, including harmonicas, synthesizer and multiple percussion. The pianist seesaws between violence (arm clusters, stabbed notes) and delicacy (strings plucked inside the instrument). There is too much to absorb in one hearing..." (Donald Rosenberg, The Plain Dealer, 23 Jan 2004)

"Ms. Neuwirth’s fits of depression are ingenious. Mistuned strings create foggy eeriness. Chord combinations grate forcefully on the ear. Shrill peeps and percussive explosions offer theatrical punctuation. Marino Formenti at the piano is all palms, fingers, fists and forearms. The results sting, and Mr. Formenti’s balletic mugging of the instrument make the pricks sharper. If beauty in music is a standard that secures our attention and conveys a message, however unpleasant, directly to the listener’s heart, then locus...doublure...solus is beautiful. We should store its impression in our minds...." (Bernard Holland, New York Times, 28 Jan 2004)

"Melodies and rhythms found in everyday life don’t have a place in this writing. The piece has the whiff of music concocted in a petri dish instead of at the kitchen table." (Elaine Guregian, Akron Beacon Journal, 23 Jan 2004)




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