Theatre Represents a Garden: Night, The

(1991)

by John Woolrich

Description
chamber orchestra
Duration
15
Genres
Small Orchestra
Instrumentation
2222 - 2000 - strings
Commission
Commissioned by the Orchestra of the Age of Enlightment for the Mozart Now Festival
First Performance
24.8.91, Queen Elizabeth Hall, London: Orchestra of the Age of Enlightment/Frans Bruggen
Availability

Score 0-571-53147-4 on sale, parts for hire

Programme Notes

John Woolrich The theatre represents a garden: night This necklace of fragments, transcriptions and recompositions is my little homage to the world’s greatest composer. All the material comes in one way or another from Mozart: principally unfinished or sketched pieces. I kept away from orchestral pieces, concentrating on music for piano, wind band or string ensemble, to allow myself a little more room to orchestrate freely (although I did steal one or two Mozartian hallmarks: divided violas, horn pedals and so on). I set these transcriptions into the harmonic structure of Figaro Act 4 (which also gave me the title), keeping the fragments in Mozart’s original keys. Near the middle of the piece is a gentle march in D minor originally intended for The Magic Flute, and towards the end is my orchestra transcription of Busoni’s piano transcription of the Fandango from Figaro superimposed on the G minor piano Gigue. 'The theatre Represents a Garden: Night' was commissioned by the Orchestra of the Age of Enlightment for the Mozart Now Festival. The piece is dedicated to Stephen Plaistow in recognition of his work for music at the BBC. John Woolrich

Licensing Information

News & Reviews

'The Theatre Represents a Garden: Night' reviews

‘…a quarter-hour journey through memories and discoveries of Mozart, mostly fleeting and unfamiliar. The artistry comes in the linking-up, and the delight comes in the confounding of expectations. While the harmonies are largely classical, they often relate to each other in sly modern ways, and then Woolrich plays other games – teasing out extra beats in the bar, or slipping in ‘wrong’ chords and improbable orchestrations.’ The Independent (Robert Maycock), 27 August 1991 Read more

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