Page 399 - Weiss, Jernej, ur. 2017. Glasbene migracije: stičišče evropske glasbene raznolikosti - Musical Migrations: Crossroads of European Musical Diversity. Koper/Ljubljana: Založba Univerze na Primorskem in Festival Ljubljana. Studia musicologica Labacensia, 1
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escape from catalonia: the composing experience of roberto gerhard
Table 1: Roberto Gerhard: Symphony No.3 (‘Collages’).
Approximate Tempo Electronic Interaction
duration sections
I. 1 min 59 secs Allegro moderato Bands 1A Long-held orchestral notes and
and 1B strong contrast of timbre and en-
velope from electronic sounds.
II. 1 min 24 secs Lento Band 2 Wavering and wobbling wind-
like noises, static orchestral osti-
nato figures. Return of orchestral
long notes.
Band 3 Sustained orchestral sounds, fe-
Band 4 verish activity in electronic osti-
III. 4 mins 35 secs Allegro con brio nato figures. Band 4 low sounds
with echo, orchestral long-held
Band 5 notes with crescendos punctuated
by heavy chords. Orchestra with-
out tape has scattered pizzicato
notes. After interlude pizzicato re-
turns with tape contradicting or-
chestra.
IV. 3 mins 2 secs Moderato No tape Building up of chords note by
note, marimba adding repeated
clusters of notes.
V. 3 mins 8 secs Vivace Bands 6 and 7 Tape has wobbling or sustained
sounds with glissando, orchestra
Spanish rhythms and sharply de-
fined staccato. Central section has
wide-ranging clarinet melody.
Return of Spanish rhythms with-
out tape.
VI. 2 mins 10 secs Allegretto Band 8 Sudden and unprepared appear-
Band 9 ance of tape which overlaps sec-
tions V and VI. Bubbling elec-
tronic sounds with orchestral
long notes irregularly articulated.
Forty second solo tape ‘cadenza’
emerges from chords.
VII. 2 mins 40 secs Calmo Bands 10A, Orchestra has held chords with
10B, 10C, 10D crescendo and diminuendo, then
with short tape sections, punctu-
ated by metallic instruments. Fi-
nal huge climax without tape.
Total duration: 19 minutes approximately
The timings are taken from the recording on ASD 2427 (London: EMI, 1968),
BBC Symphony Orchestra conducted by Frederik Prausnitz, and are approxi-
mate. Two other recordings have different timings for the individual sections.
This does not affect the synchronisation of the tape with the orchestra, which
397
Table 1: Roberto Gerhard: Symphony No.3 (‘Collages’).
Approximate Tempo Electronic Interaction
duration sections
I. 1 min 59 secs Allegro moderato Bands 1A Long-held orchestral notes and
and 1B strong contrast of timbre and en-
velope from electronic sounds.
II. 1 min 24 secs Lento Band 2 Wavering and wobbling wind-
like noises, static orchestral osti-
nato figures. Return of orchestral
long notes.
Band 3 Sustained orchestral sounds, fe-
Band 4 verish activity in electronic osti-
III. 4 mins 35 secs Allegro con brio nato figures. Band 4 low sounds
with echo, orchestral long-held
Band 5 notes with crescendos punctuated
by heavy chords. Orchestra with-
out tape has scattered pizzicato
notes. After interlude pizzicato re-
turns with tape contradicting or-
chestra.
IV. 3 mins 2 secs Moderato No tape Building up of chords note by
note, marimba adding repeated
clusters of notes.
V. 3 mins 8 secs Vivace Bands 6 and 7 Tape has wobbling or sustained
sounds with glissando, orchestra
Spanish rhythms and sharply de-
fined staccato. Central section has
wide-ranging clarinet melody.
Return of Spanish rhythms with-
out tape.
VI. 2 mins 10 secs Allegretto Band 8 Sudden and unprepared appear-
Band 9 ance of tape which overlaps sec-
tions V and VI. Bubbling elec-
tronic sounds with orchestral
long notes irregularly articulated.
Forty second solo tape ‘cadenza’
emerges from chords.
VII. 2 mins 40 secs Calmo Bands 10A, Orchestra has held chords with
10B, 10C, 10D crescendo and diminuendo, then
with short tape sections, punctu-
ated by metallic instruments. Fi-
nal huge climax without tape.
Total duration: 19 minutes approximately
The timings are taken from the recording on ASD 2427 (London: EMI, 1968),
BBC Symphony Orchestra conducted by Frederik Prausnitz, and are approxi-
mate. Two other recordings have different timings for the individual sections.
This does not affect the synchronisation of the tape with the orchestra, which
397
