| ORCHESTRA B | 2002 orchestra 13’
instrumentation: 3333.4431.timp.3perc.strings (min.18.104.22.168.6)
Timpani and 3 other percussionists
timpani (1 performer):
1) 81 cm timpano prepared with straps of velcro. Also played with a piece of wet polysterene (isolating or packaging plastic) 2) 63 cm timpano with sizzling objects on top (small chains or marbles) 3) 57 cm timpano with wooden cover. 4) revolverperc I: Large avil, small gong (Bb), snare drum, hi-hat, steeldrum (Ab major), vibraphone, large log-drum, two books (one thick bound volume, and a smaller one)
perc II: wooden plank, small tambourine, medium tom-tom, suspended medium sizzle cymbal, medium gong (Ab), large tam-tam, two books (one thick bound volume, and a smaller one)
perc III: Wooden plank with nails imbedded, tenor snare drum, deep gong (E), sleigh-bells (fixed on both wrists), suspended large cymbal, glockenspiel, tubular bells, two books (one thick bound volume, and a smaller one)
This work was written with support from the Icelandic Radio Composer’s Fund for the Icelandic Composers Societie’s Dark Music Days in January 2003. The title alludes to the fact that the piece is conceived as if it were for two orchestras, of which we only hear the second of the two. For the listener, this means he should never expect to hear musical ideas presented as if they were a main theme, a principal rhythm etc. It’s all as a more or less distorted echo of something we do not hear.
Reykjavik, February 6, 2003 (Iceland Symphony Orchestra, B.Wilkinson)
| ORCHESTRA B | 2002 orchestra 13’
The two pages of an open book are called opna in Icelandic, but opna also means “to open”. The work was composed beginning with the central part, which constitutes a sort of symmetrical point. After the central part I proceeded to realising the sections towards the beginning and towards the end using the structural potential of the centre.
Despite the almost structuralist appearance of this approach the outer sections hide their relation to the centre, which for the listener seems to be only another part of the form.
Opna was written on request of Nuove Sincronie in Milan for Harry Sparnaay and Johan Faber.
For performers: A willingly virtuosistic piece for both performers.
Varese, July 28, 1991 (Harry Sparnaay, cl, Johan Faber, mar)
Paris, January 11, 1992 (Didier Pernoit, cl, Pascal Zavaro, mar)
Båstad, June 27, 2003, Gudni Franzson, Markus Leoson
| OBJECT OF TERROR | 2000 (Casa Ricordi) fl , ob , cl , bn , hrn , tpt , tbn , perc , pno , 2 vn , vla. vc. cb. 15’30’’
suggested setup: two sets
set A: triangle (medium-big) prepared with a set of rings, brake drum, metal spring, tubular bells (c’, e’, g sharp’)
3 cymbals (small, medium sizzle cymbal, big) bass drum.
Set B: vibraphone (with 2 bows), 6 cencerros, deep gong (deep f sharp) (or medium-big tam tam)
Object of Terror was written on commission from the Caput Ensemble and Reykjavík 2000.
The idea of musical material has gradually been dissolving in my works. At present we may say that the harmonic and rhythmic basis which generate the events lay deep under the surface, mostly unpronounced, but a distorted, elusive or compressed image of them permeats the surface. The most important thing is the evolution itself, how the foreground changes without anytime reaching a secure affirmation of themes, chords or rhytmical ideas. The form is quite foreseeable, unavoidable, and from that point of view this is among my most simple pieces. This is done so as the form will not bear any message in itself but point all the attention to the metamorphoses itself, to the colour and fragrance of time that passes, to the relation of creation and distruction which has long interested me.
Reykjavík, September 2000, (The Caput Ensemble)
Reykjavík, November 2000, (same)
Bologna, November, 2000: (same) Mappe musicali
Prague, November, 2000 : (same) Music Marathon
Amsterdam, June 2001: (same) The Holland Festival
Bologna, October 2002, (FontanaMIX) Bologna Festival
Berlin, December 2002 (The Caput Ensemble)