Electronic CD Project Kid
Fabian Müller
UNCOMMON CONCERTOS
Concerto for Pan flute & Orchestra
Concerto for Vibraphone & Orchestra
Concerto for Heckelphone & Orchestra
Hanspeter Oggier, Pan flute
Thomas Dobler, Vibraphone
N.N., Heckelphone
Please find all informations and Links below
THE MUSIC
Concerto for Pan flute & Orchestra
Commisssion: Südwestdeutsche Philharmonie Konstanz 2017
WP: Konzil Konstanz, 2018
Soloist: Urban Frey
Conductor: Ari Rasilainen
Orchestra: 2222 4230 timpani. Perk. Strings
Duration approx. 23 '
Work text by the composer: It is astonishing that despite the great and worldwide popularity of the pan flute, there are hardly any concertante works for pan flute. The pan flute has a special meaning in my life. Because the Romanian pan flutist Gheorghe Zamfir aroused my interest in folk music in my early youth. This interest then became a lifelong passion and also shaped my composing. The commission from the Südwestdeutsche Philharmonie Konstanz to write a large-scale concert for this instrument was a great pleasure.
Hardly any other instrument is as strongly linked to mythology as the pan flute. And so, when I started composing, I also dealt with all sorts of legends about Pan, the god of the forest and nature. Although no specific legend has become a source of inspiration, inner images and moods of the myths about Pan have flowed into the music. The resulting concert is traditionally designed in three movements. The first sentence is entitled “Evocation”. The fanfares and urgent, rhythmically pulsating themes evoke images of an archaic evocation festival in me, with which Pan and the natural spirits surrounding him were perhaps invoked.
In the arabesque that follows, the sound of the pan flute really unfolds in lyrical arcs of melodies and in the last movement, "Dance of the Satyrs", dance music alternates with an elegiac theme.
Concerto for Vibraphone & Orchestra
Commissioned by the Weinberger Chamber Orchestra 2013
WP: Tonhalle Zurich, 2014
Soloist: Evelyn Glennie
Conductor: Gabor Takasz-Nagy
Orchestra: 1202 2000 timpani. Strings
Duration: approx. 27 '
Work text by the composer: While the marimba, the wooden relative of the vibraphone, has been able to establish itself in literature and in the classical concert scene in recent years, in fact experienced a boom, the vibraphone completely wrongly leads a "wallflower existence" in the classical concert program. So I was all the more delighted by Evelyn Glennie's wish to write a concerto for this great instrument for her. An instrument that I have always valued very much and that has therefore played an important role in my orchestral works to date.
In compositions for percussion instruments, rhythmic gimmicks are often in the foreground. These should of course not be missing in my vibraphone concert. But I see the vibraphone primarily as an expressive melody instrument. The immense dynamic range, the possibility of polyphony and the precise phrasing by the pedal bring the vibraphone close to the piano. This great expressiveness should be able to develop in the solo part of this work.
The first movement begins with a dramatic force of sound, outshone by the bright sound of the vibraphone.
It is further characterized by a pulsating forwards thrust in the dialogue with the orchestra, in which orchestral sound eruptions are paired with a lyrical theme. After the dramatic first movement, the “unearthly” qualities of the vibraphone come into play in the calm, meditative middle movement, spherical sounds and mysterious-mystical moods, embedded in the velvety and dense strings. At the request of the soloist, the last movement turned into a brilliant finale, a rondo scherzando that demands a lot from virtuosity and shows the instrument from its brilliant side.
Concerto for Heckelphone & Orchestra
WP: maybe connected with the recording period
Soloist: N.N. This is still being clarified at the moment
Orchestra: 1121 2120, timpani, perc. Hrf. Klav. Strings
Duration: approx. 20 '
Work text by the composer: After finishing my new opera for the Biel and Solothurn theaters this spring, I found time this summer / autumn to write a work for an instrument that has long fascinated me with its wonderfully lyrical, melancholy sound. The German instrument maker Wilhelm Heckel developed this baritone oboe at the suggestion of Wagner as an instrument that sounds between the English horn and the bassoon. Apart from the well-known works with a Heckelphone orchestral part, Salome or the Alpine Symphony by Strauss or a Trio by Hindemith, there is very little literature for Heckelphon. Interest in it has grown lately and I am convinced it will increasingly play an enriching role in the future. With this instrument, too, the great expressive potential for concert use with orchestral accompaniment is still unused.
! Of course it sounds very artificial! Please use good headphons, otherwise it is not enjoyable!
1. movement
All movements