Percussion Symphony - Symphony No 5

(1995)

by Carl Vine

Description
four percussionists and orchestra
Duration
22
Genres
Solo Instruments with Orchestra
Instrumentation
picc.2.3(III=ca).2.bcl.2.cbsn - 4221 - perc(4): timp/4 timbale/tam-t/2 anvil/2 wdbl/4 susp.cym/xyl/crot/2 BD/4 tom-t/2 bongo/mar/t.bells/SD/2 brake drum/2 tpl.bl/vib/glsp - harp - strings
Commission
Commissioned by the Sydney Symphony Orchestra with assistance from the Performing Arts Board of the Australia Council
First Performance
17.3.95, Sydney Town Hall, Australia: Sydney Symphony Orchestra/Synergy/Edo de Waart
Availability

Score (fp) 0-571-55862-3 on sale, parts for hire

Programme Notes
Percussion Symphony began life as a commission for the Synergy percussion ensemble. They then thought it would be more interesting as a concerto-style work for four percussion and orchestra, and the ABC kindly adopted the work as a commission for the Sydney Symphony Orchestra featuring Synergy. Although a quartet concerto in intent, the finished work sits more comfortably as an extension of my previous four symphonies, and is thus titled Percussion Symphony (Symphony No. 5). From the first sketches the work was to be in five movements featuring a heavily rhythmic opening and a Tarantella finale. These two prominent features remain, although the middle three movements (originally slow-fast-slow) have been absorbed into a single extended slow movement with a rapid bridge at its centre. The work was commissioned by the Australian Broadcasting Corporation with financial assistance from the Performing Arts Board of the Australia Council.

Licensing Information

News & Reviews

'Percussion Symphony' reviews

‘Its appeal is considerable and direct. The main body of its first section sides on energetic, syncopated dance-like rhythms, often with a Latin flavour. There are fleeting reminders of the idiom of, say, West Side Story. The middle, generally slower section revolves around a core of instrumental dissension … Vine’s invention is brilliantly appropriate for his purposes.’ Roger Covell, The Sydney Morning Herald, 20 March 1995 Read more

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