Henri DUTILLEUX Mystre de linstant

- General
o Miniature form, each exploring a different texture
o Relatively consistent character throughout
- Movements
o Appels
Harmonics against insistent, chanting muted violins
Gradual expansion of range, opening of space from
top to bottom (pedal bass)
A fanfare
o Echoes
Riffs on rising gesture from previous movement
Muted lower register
A chorale?
Transitional
o Prismes
Pizzicato against sustained chords (switching
between roles)
Two levels of activity; agitated against slower moving
Occasional sul pont agitation
o Espaces lointains
Evocation of wide space; low strings against violins in
three octaves (mirror relation)
Sul pont interjection from viola/tam-tam viola joins
cello/bass in octaves
o Litanies
Unison melody from violins to cellos against
cymbalum interjections
Violins switch to tremolo, cellos stay in higher
register
Counterpoint branches off
Viola solo, short
Transitional cymbalum solo
o Choral
4 part cello divisi
interjections from rest of orchestra
seamless transition into next movement
o Rumeurs
Glissandi, widening of range
Building into next mvmt
Thick low strings pizzicato indistinct
Tremolo at end
o Soliloquies
Violin solo against tremolos

Cello solo echoing violin

Fabric of tremolos accompanying, occasionally
doubling/emphasizing gestures in solo
o Metamorphoses (sur le nom SACHER)
Texture gradually becomes aleatoric
Final chord; wide range, sffpp attack and slow
diminuendo
Contrabass solo at end, weakling ringing
o Embrasement
Multiple planes of activity; slow moving chords
against agitated tremolos and runs and pizzicato
Clustering in high register, swooping to low register,
tutti finish
Claude VIVIER Zipangu
- General
o Set of free variations on theme presented from beginning
o Single movement
o Exploration of various timbres/textures
o hom
- Synopsis
o m. 1 modal theme, limited range (incantatory quality)
additive melodic process
large drone in lower strings, application of bow
pressure creates shimmering timbre
melody in octaves
o m. 41 dialogue of crescendos and tremolos
saturation of range, timbres morph in and out of
each other
homophony; counterpoint is in texture
o m. 69 homophony; counterpoint is still in texture
harmonics against normal pitches
o m. 82 creation of two orchestras with one
extreme dynamic/coloric contrast
timbral modulation; bass harmonics gradually add
with cellos, subtracting from agitated texture
o m. 99 three levels of activity
solo violin
harmonics in high register
homophonic melody in lower strings
luminous texture becomes fragmented as parts
branch off
o m. 125 two part counterpoint with drone
o m. 150 solo against