Symphony No. 4 (Protest)
Orchestra [16 mins.]
Commissioned by Collegium Instrumentale Dornbirn – Guntram Simma, Dir.
World Premiere, 7 November 2021, Kulturhaus Dornbirn in Austria
Opus 80 — A.S.C.A.P. work I.D. 910927608
SCORE
World Premiere, 7 November 2021, Kulturhaus Dornbirn in Austria
Opus 80 — A.S.C.A.P. work I.D. 910927608
SCORE
PROGRAM NOTES
Symphony No. 4 (Protest), was written for Guntram Simma and the Collegium Instrumentale Dornbirn.
Musically, Symphony No. 4 unfolds in three continuous movements:
I. Tension is produced by dramatic chords, some abrasive and some beautiful, framing a bugle call. II. Three consecutive attempts to lighten the tension from Part I with rhythm, percussion, and tune:
1.— a linear continuo, featuring a short tuba/piccolo duet;
2.— a silly repeating mantra, initiated by plucked strings;
3.— a more complex motor driven texture — conveyor-belt music.
However, during Part II, gestures from Part I sneak in, creating an internal conflict, which overheats and stalls, leaving us back where we started. As if hopelessly giving in to a higher reality, a reality that needs to be addressed, Part III returns to the tension of Part I.
III. Recapitulation and conclusion of Part I, with string solos supported by a “rattling” orchestra.
When I compose, something always seems to be on my mind that infects the music, influencing the pure sounds with concrete realities. As we know, Music is the most abstract of the arts. It is perhaps the simplest and most visceral method of human communication. However, Symphony No. 4’s pure sound is transcended by members of the orchestra, who occasionally put down their instruments and shake baby rattles. Although rattles are a normal sound heard from the percussion section of the orchestra, it seems different when nearly the entire orchestra is “rattling,” as if the orchestra is trying to tell us something. In addition to this, the members of the orchestra often make more blatant contact with the audience, e.g. by whispering, making eye-contact, speaking, breathing, etc. Such direct contact mingles with the music in, for me, a disturbing way. My private listening world is forced out of its isolation, making me aware of both the musicians and the other members of the audience as people. Fantasy and reality become one. It upsets the pureness of the music.
But then there is the rattling. Along with the eye-contact and whispering, etc., the orchestra seems to protesting. It is me. I am protesting. I am protesting for the children who are just beginning their lives. We all should be. After all, what kind of world are we leaving for them? A polluted world. A world that is constantly at war. A world where mass killings by armed maniacs, especially of school children, are assisted by unresponsive lawmakers.
Symphony No. 4 (Protest), was written for Guntram Simma and the Collegium Instrumentale Dornbirn.
Musically, Symphony No. 4 unfolds in three continuous movements:
I. Tension is produced by dramatic chords, some abrasive and some beautiful, framing a bugle call. II. Three consecutive attempts to lighten the tension from Part I with rhythm, percussion, and tune:
1.— a linear continuo, featuring a short tuba/piccolo duet;
2.— a silly repeating mantra, initiated by plucked strings;
3.— a more complex motor driven texture — conveyor-belt music.
However, during Part II, gestures from Part I sneak in, creating an internal conflict, which overheats and stalls, leaving us back where we started. As if hopelessly giving in to a higher reality, a reality that needs to be addressed, Part III returns to the tension of Part I.
III. Recapitulation and conclusion of Part I, with string solos supported by a “rattling” orchestra.
When I compose, something always seems to be on my mind that infects the music, influencing the pure sounds with concrete realities. As we know, Music is the most abstract of the arts. It is perhaps the simplest and most visceral method of human communication. However, Symphony No. 4’s pure sound is transcended by members of the orchestra, who occasionally put down their instruments and shake baby rattles. Although rattles are a normal sound heard from the percussion section of the orchestra, it seems different when nearly the entire orchestra is “rattling,” as if the orchestra is trying to tell us something. In addition to this, the members of the orchestra often make more blatant contact with the audience, e.g. by whispering, making eye-contact, speaking, breathing, etc. Such direct contact mingles with the music in, for me, a disturbing way. My private listening world is forced out of its isolation, making me aware of both the musicians and the other members of the audience as people. Fantasy and reality become one. It upsets the pureness of the music.
But then there is the rattling. Along with the eye-contact and whispering, etc., the orchestra seems to protesting. It is me. I am protesting. I am protesting for the children who are just beginning their lives. We all should be. After all, what kind of world are we leaving for them? A polluted world. A world that is constantly at war. A world where mass killings by armed maniacs, especially of school children, are assisted by unresponsive lawmakers.
Collegium Instrumentale Dornbirn
Below: left - Frank Stemper right - Guntram Simma
Below: left - Frank Stemper right - Guntram Simma
|
|
PRESS NOTICE
Silvia Thurner — Zeitschrift fur Kultur und Gesellschaft (translation below)
Guntram Simma und das „Collegium Instrumentale“ verströmten bei „Dornbirn Klassik“ viel Energie und Aussagekraft
Das „Collegium Instrumentale Dornbirn“ unter der Leitung von Guntram Simma hatte beim zweiten Abonnementkonzert im Rahmen von „Dornbirn Klassik“ seinen Auftritt. Viele Musikbegeisterte ließen sich dieses Ereignis nicht entgehen und erlebten im Dornbirner Kulturhaus einen inspirierenden Konzertabend. Die Interpretation des ersten Klavierkonzertes mit der Solistin Jasminka Stancul beeindruckte in mehrerlei Hinsicht, Entspannung bot Smetanas „Moldau“ und höchst eindrücklich wirkte die Uraufführung des symphonischen Stückes „Protest“ des amerikanischen Komponisten Frank Stemper. Einmal mehr bewies Guntram Simma Mut und machte deutlich, dass Musik nicht nur zur seelischen Erbauung dienen, sondern auch aufrütteln kann.
Das Collegium Instrumentale spielte bei "Dornbirn Klassik" in großer Besetzung. Im Orchester fanden viele junge Gesichter und manche ältere „Semester“ zusammen und gemeinsam wurde mit viel Eigenverantwortung und höchster Konzentration musiziert. Alle saßen auf den Stuhlkanten und der Wille an diesem Abend mit einem anspruchsvollen Programm das Beste zu geben, war von Beginn an spür- und beeindruckend hörbar.
Seit Jahren vergibt der Orchesterleiter und Dirigent Guntram Simma Aufträge, um neue Kompositionen mit „seinem“ Collegium zu erarbeiten. Das ist weitsichtig, denn damit erfahren die Orchestermusiker:innen und das Publikum, dass Musik unserer Zeit eine gesellschaftliche Relevanz haben kann. Frank Stemper komponierte für das Collegium Instrumentale ein aufrüttelndes, gesellschaftskritisches Werk, bei dem der Titel zugleich Programm war. Stimmen, Rasseln, harte Schläge durch massive Akkordballungen und ein Streicherlamento waren die musikalischen Ausgangsmaterialien, mit denen Frank Stemper in mehreren Anläufen konfliktgeladene Spannungszustände in Musik fasste. Der musikalische Fluss brach immer wieder ab, driftete auseinander oder führte ins Leere. Und genau in diesen Momenten, wenn nichts mehr blieb, erklangen die Rasseln, entweder von einzelnen Pulten oder mit eindringlichem Ausdruck von allen gemeinsam. Ein Lamento der Streicher verströmte am Ende dieses aussagekräftigen Werkes eine große eruptierende Kraft.
(translation)
Guntram Simma and the “Collegium Instrumentale” exuded a lot of energy and expressiveness with “Dornbirn Klassik”
The "Collegium Instrumentale Dornbirn" under the direction of Guntram Simma had its appearance at the second subscription concert as part of "Dornbirn Klassik". Many music enthusiasts did not miss this event and experienced an inspiring concert evening in the Dornbirner Kulturhaus. The interpretation of the first piano concerto with the soloist Jasminka Stancul impressed in several ways. Smetana's “Moldau” was relaxing and the world premiere of the symphonic piece “Protest” by the American composer Frank Stemper was very impressive. Once again Guntram Simma showed courage and made it clear that music not only serves to uplift the soul, but can also shake things up.
The Collegium Instrumentale played in "Dornbirn Klassik" with a large cast. Many young faces and some older "semesters" came together in the orchestra and music was played together with a lot of personal responsibility and maximum concentration. Everyone sat on the edge of a chair and the will to give their best with a demanding program on this evening was palpable and impressively audible from the start.
For years, the orchestra leader and conductor Guntram Simma has been giving orders to work on new compositions with “his” collegium. That is far-sighted, because it allows the orchestra musicians and the audience to experience that the music of our time can have a social relevance. Frank Stemper composed a startling, socially critical work for the Collegium Instrumentale, in which the title was also the program. Voices, rattles, hard hits from massive chord clusters and a string parliamento were the musical starting materials with which Frank Stemper captured conflict-laden states of tension in music in several attempts. The musical flow broke off again and again, drifted apart or led into emptiness. And exactly in those moments, when there was nothing left, the rattles sounded,either from individual consoles or with a haunting expression from all together. A lament from the strings exuded great erupting power at the end of this telling work.
PRESS NOTICE
Silvia Thurner — Zeitschrift fur Kultur und Gesellschaft (translation below)
Guntram Simma und das „Collegium Instrumentale“ verströmten bei „Dornbirn Klassik“ viel Energie und Aussagekraft
Das „Collegium Instrumentale Dornbirn“ unter der Leitung von Guntram Simma hatte beim zweiten Abonnementkonzert im Rahmen von „Dornbirn Klassik“ seinen Auftritt. Viele Musikbegeisterte ließen sich dieses Ereignis nicht entgehen und erlebten im Dornbirner Kulturhaus einen inspirierenden Konzertabend. Die Interpretation des ersten Klavierkonzertes mit der Solistin Jasminka Stancul beeindruckte in mehrerlei Hinsicht, Entspannung bot Smetanas „Moldau“ und höchst eindrücklich wirkte die Uraufführung des symphonischen Stückes „Protest“ des amerikanischen Komponisten Frank Stemper. Einmal mehr bewies Guntram Simma Mut und machte deutlich, dass Musik nicht nur zur seelischen Erbauung dienen, sondern auch aufrütteln kann.
Das Collegium Instrumentale spielte bei "Dornbirn Klassik" in großer Besetzung. Im Orchester fanden viele junge Gesichter und manche ältere „Semester“ zusammen und gemeinsam wurde mit viel Eigenverantwortung und höchster Konzentration musiziert. Alle saßen auf den Stuhlkanten und der Wille an diesem Abend mit einem anspruchsvollen Programm das Beste zu geben, war von Beginn an spür- und beeindruckend hörbar.
Seit Jahren vergibt der Orchesterleiter und Dirigent Guntram Simma Aufträge, um neue Kompositionen mit „seinem“ Collegium zu erarbeiten. Das ist weitsichtig, denn damit erfahren die Orchestermusiker:innen und das Publikum, dass Musik unserer Zeit eine gesellschaftliche Relevanz haben kann. Frank Stemper komponierte für das Collegium Instrumentale ein aufrüttelndes, gesellschaftskritisches Werk, bei dem der Titel zugleich Programm war. Stimmen, Rasseln, harte Schläge durch massive Akkordballungen und ein Streicherlamento waren die musikalischen Ausgangsmaterialien, mit denen Frank Stemper in mehreren Anläufen konfliktgeladene Spannungszustände in Musik fasste. Der musikalische Fluss brach immer wieder ab, driftete auseinander oder führte ins Leere. Und genau in diesen Momenten, wenn nichts mehr blieb, erklangen die Rasseln, entweder von einzelnen Pulten oder mit eindringlichem Ausdruck von allen gemeinsam. Ein Lamento der Streicher verströmte am Ende dieses aussagekräftigen Werkes eine große eruptierende Kraft.
(translation)
Guntram Simma and the “Collegium Instrumentale” exuded a lot of energy and expressiveness with “Dornbirn Klassik”
The "Collegium Instrumentale Dornbirn" under the direction of Guntram Simma had its appearance at the second subscription concert as part of "Dornbirn Klassik". Many music enthusiasts did not miss this event and experienced an inspiring concert evening in the Dornbirner Kulturhaus. The interpretation of the first piano concerto with the soloist Jasminka Stancul impressed in several ways. Smetana's “Moldau” was relaxing and the world premiere of the symphonic piece “Protest” by the American composer Frank Stemper was very impressive. Once again Guntram Simma showed courage and made it clear that music not only serves to uplift the soul, but can also shake things up.
The Collegium Instrumentale played in "Dornbirn Klassik" with a large cast. Many young faces and some older "semesters" came together in the orchestra and music was played together with a lot of personal responsibility and maximum concentration. Everyone sat on the edge of a chair and the will to give their best with a demanding program on this evening was palpable and impressively audible from the start.
For years, the orchestra leader and conductor Guntram Simma has been giving orders to work on new compositions with “his” collegium. That is far-sighted, because it allows the orchestra musicians and the audience to experience that the music of our time can have a social relevance. Frank Stemper composed a startling, socially critical work for the Collegium Instrumentale, in which the title was also the program. Voices, rattles, hard hits from massive chord clusters and a string parliamento were the musical starting materials with which Frank Stemper captured conflict-laden states of tension in music in several attempts. The musical flow broke off again and again, drifted apart or led into emptiness. And exactly in those moments, when there was nothing left, the rattles sounded,either from individual consoles or with a haunting expression from all together. A lament from the strings exuded great erupting power at the end of this telling work.
also check out Kevin Lynch's comments about Symphony No. 4 in his blog —
Culture Currents (Vernaculars Speak): click link below and scroll down
Wisconsinite Frank Stemper goes Euro on us with a new orchestral piece, “Protest.”
Culture Currents (Vernaculars Speak): click link below and scroll down
Wisconsinite Frank Stemper goes Euro on us with a new orchestral piece, “Protest.”