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TRANSFORMATION I (1966/67) is an experiment in free style composition, following the spirit of the days, and is basically a collage of texts and styles. It was my first exercise in writing for large forces at a time when I was most interested in the design of large-scale effects and gesture. The subtitle "On the Way to Hallelujah" foreshadows two works I was to write much later: Hallelujah I and II, which in a way redeem a pledge (or a hope) that one day, after having acquired sufficient skill, I would be able to write much more freely, without all the struggle with technical detail. I would take the path of Transfomation I a step further in Introitus (1967/69 - see below) by introducing theatrical elements to highlight the spatial arrangement of the ensemble. A performance of Transformation I has never been attempted. INTROITUS (1967/69) is, like Huantan, spatially-conceived for chorus and wind ensemble, somewhat along the lines of certain works by Berio or Kagel, and not unlike an earlier piece I wrote: Transformation I (see above), which is also a rather free collage of musical and textual entities. Some theatrical instructions were added to the score to add festive flavor. This is an unusual episode in my career (but typical of the 'sixties') because in most of my subsequent works I went to great lengths to follow much stricter rules governing both architecture and the minutiae of detail. Introitus takes the form of a frivolous, more or less continuous development from total chaos to controlled order. It received its first performance in the Gaudeamus Music Week of 1970 by the Radio Chamber Choir and the Radio Wind Ensemble, but enjoyed a surprising comeback during a concert in Amsterdam by the Koor Nieuwe Muziek and the Barton Workshop in November 2003, in celebration of my 65th birthday. A recording was made by the Concertzender. Back to |
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