Andromeda - Dillon

Transcript of Andromeda - Dillon

8/20/2019 Andromeda - Dillon

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Piano Concerto

Andromeda

Full Score

DILLON

No. 7772

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Dedicated to Helmut Lachenmann on the occasion of his 70th Birthday

Commissioned by the BBC for the 2006 BBC Proms

First performance by Noriko Kawai and the BBC Scottish Symphony Orchestraconducted by Ilan Volkov at the Promenade Concerts in August 2006 at theRoyal Albert Hall, London.

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James Dillon

Piano Concerto Andromeda

Instrumentation

3 Flutes (1st doubling Piccolo)

3 Oboes (3rd doubling Cor Anglais)

3 Clarinets in B

(1st doubling E-, 3rd doubling Bass Clarinet

& Contrabass Clarinet)

3 Bassoons (3rd doubling Contrabassoon)

4 Horns in F + Mutes

3 Trumpets in B

(1st doubling Trumpet in

D) + Straight, Harmon, Cup and Metal Mutes

3 Trombones (3

rd

Bass Trombone) +Straight, Harmon, Cup and Metal Mutes

Tuba + Mute

Timpani

Percussion (4 Players)distribution of the instruments is left to the discretion of the players

3 Thai Gongs (low D=, low G=, high B-)1 Chinese Cymbal2 Tam Tams (medium, large)3 Suspended Cow Bells (small, medium, large)

1 Flexatone2 Spring Coils4 Sets of Glass Chimes (small to large 1,2,3,4)4 Triangles (High, Medium High, Medium Low & Low)

1 Small Tambourine1 Lion Roar2 Polystyrene (ceiling) Tiles *1 Air Horn (for example vintage bicycle/car horn)

* ca. 12 inches (30 cms) square

1 pair of Claves 3 Temple Blocks (small, medium, large, 1,2,3)

1 pair of Bongos 1 Tenor Drum

1 Suspended Cymbal (Turkish)1 Anvil (+ metal hammer)1 Set of Sleigh Bells

Steel (Caribbean) Drums (D=, F=)

1 Metal Whistle (football referees)Sand Blocks (2 hand size)2 V’Cello Bows (+ rosin)2 C’Bass Bows (+ rosin)

2 Stones (large pebble-like stones – fist size)1 Maraca(s)

2 Snare Drums1 Bass Drum

Tubular BellsXylorimba

Crotales (Antique Cymbals) VibraphoneGlockenspiel

Harp

Celesta

Piano Solo

Strings (14.12.10.8.6)

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Andromeda; the offspring of Celeus and Cassiopeia (night and darkness) is a

personification of the dawn. To atone for the vanity of her mother, Cassiopeia, who claimed

she was fairer than any of the sea nymphs. She was chained fast to an overhanging rock wherethe foaming billows that their spray continually dashed over her fair limbs. Eventually she isrescued by the Perseus’ irresistible sword - the piercing rays of the sun. (H.A. Guerber)

Andromeda; V-shaped constellation in the northern hemisphere said in ancient timesto represent the outstretched arms of Andromeda ‘the chained woman’.The Andromeda galaxy a spiral galaxy like our own Milky Way is the most distant object tobe seen by the visible eye. (Times Atlas to the Universe)

The impact of the modern piano concerto from Beethoven onwards reflects the increasing

virtuosity of the performer which pushes the genre in an idealised and dramatic direction andthis drama perhaps remains one of its most attractive and repulsive features. However theetymology of virtuosity originally referred to the subject and not the execution and by thelate 19th century and early 20th the ritualised and heroic struggle of the post Beethovenconcerto is transformed from the ‘allegory of romance’ to a kind of ‘vanitas’; it moves fromPrometheus to Narcissus. If the concerto during the early period of modernism inherits andmaintains the idea of the heroic struggle, the emphasis often shifts to the level of the materialitself. The displaced elements of concerto form, cadenza, ritornello, ripieni, etc; its repertoireof gestures function only as a chain of traces in a theatre of memory.

My Piano Concerto is in one continuous movement of around 35 minutes in duration,formally this single movement consists of 15 sections (including a coda).

These sections are the result of a division and re-ordering of larger stretches of material, thesections are arranged as a series of imaginary waves, one section giving birth to the next. Thedisplacement of material marks our experience of continuity; the large rhythm of the sectionscontains a more spontaneous activity. Form cannot be separated from its activity and herethis activity is a playful reality, an incandescent tension between renewal and suspension. Insome ways for me each new work gives birth to the next and this propulsion from work towork carries with it some mysterious sway. Across this activity the solo piano casts itsendless musical nets like some nucleic action, spinning trails into galaxies of sound; thetechnical demands on the pianist are extreme. However the intention is not one of display Iam concerned with a certain strange exchange. The perpetual growth and decay, thevertiginous precision of the moment, the spontaneous nature of sound is reflected in the form.The movement of the waves (sections) remains the same yet the forms are always different.The listening process is omnidirectional and the sound complexes of the work play with this -scale plays an important role in such a work whereby the sweeping movements of large scaletextures are mirrored by microscopic shifts of instrumental colour. The solo piano weaves itsfigural spells around, within and outside of this play which creates a structure that isambiguous, tries to be flexible, always in motion, seeking contradictions, privilegeslabyrinthine movement, however mysterious. The relationship of soloist and orchestra isalways shifting, is one a part of the other, does one accompany the other? Everything remainsunstable remains mysterious; the experience of any unfolding drama will always be set againsta silent drama, a silent stage, an unrealised staging. The invocation of the Andromeda mythserves only as an allegory to some protean theatre, whether it’s the uncanny cries ofAndromeda or perhaps the echo of the shoreline.

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3:2



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Flute

Oboe

Bassoon

Horn in F

Trumpet in D

Trumpet in B

Trombone

Tuba

Timpani

Glass Chimes

High Triangle

Tubular bells

Glass Chimes

Medium (High) Triangle

Xylorimba

Glass Chimes

Medium (Low) Triangle

Glockenspiel

Glass Chimes

Low Triangle

Vibraphone

Celesta

Piano Solo

Violin I

Violin II

Viola

Violoncello

Contrabass

EditionPetersNo.7772©Copyright2006by HinrichsenEdition,PetersEditionLimited,London









to Helmut Lachenmann on the occasion of his 70th birthday

Andromeda

   = 108





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James Dillon

Piano Concerto

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Piccolo

Flute

Oboe

Clarinet in B

ContrabassCl. in B

Contrabassoon

Horn in F

Trombone

Tuba

Bass drum

Tam-tam

Harp

Gong

Xylorimba

Vibraphone

Piano

Violin I

Violin II

Viola

Violoncello

Contrabass

A

con sord. (Harmon)

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   = 120



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( V’cello or C’Bass bow )

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4

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Andromeda - Dillon

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Transcript of Andromeda - Dillon