Located in the UK
Located in the USA
Located in Europe
- Marvin Hamlisch
Anatomy of Peace (1991)
- Polygram (World)
- 3(pic)2+ca.3(bcl)3(cbn)/4431/2timp.4perc/cel/str
- Chorus
- Child's voice
- 30 min
- David Zippel
- English
Programme Note
Text:
David Zippel
Composer Note:
I decided that Reves's call for one law for us all could be defined by a simple, clear, plaintive theme, and that the orchestra would represent all the nations of the world and their different rules of law. The suite begins with the nations of the world in loud, cacophonous uproar. Suddenly, a solo flute introduces the "one Law" theme, beckoning to us all; one law bringing us all together. But each section of the orchestra (our world) initially resists the call, since old habits are hard to break. The brass and the woodwinds are first to display their dislike of this new idea. But the flute acts as a magnet and slowly its pull (its logic) is felt, first by the woodwinds. When the theme returns, it is not alone. The strings, a big part of our world, must mow be convinced, and finally they are. Our theme is now given words, first introduced by a solo child, and then sung again by a children's chorus. Slowly the irresistibility of the idea begins to weave a spell on the orchestra and the penultimate section of the piece is a contemplative one, as the world thinks about what the new world order would be. Finally, Reves's dream is musically realized, as the entire orchestra accepts the "one Law" concept.
— Marvin Hamlisch
David Zippel
Composer Note:
I decided that Reves's call for one law for us all could be defined by a simple, clear, plaintive theme, and that the orchestra would represent all the nations of the world and their different rules of law. The suite begins with the nations of the world in loud, cacophonous uproar. Suddenly, a solo flute introduces the "one Law" theme, beckoning to us all; one law bringing us all together. But each section of the orchestra (our world) initially resists the call, since old habits are hard to break. The brass and the woodwinds are first to display their dislike of this new idea. But the flute acts as a magnet and slowly its pull (its logic) is felt, first by the woodwinds. When the theme returns, it is not alone. The strings, a big part of our world, must mow be convinced, and finally they are. Our theme is now given words, first introduced by a solo child, and then sung again by a children's chorus. Slowly the irresistibility of the idea begins to weave a spell on the orchestra and the penultimate section of the piece is a contemplative one, as the world thinks about what the new world order would be. Finally, Reves's dream is musically realized, as the entire orchestra accepts the "one Law" concept.
— Marvin Hamlisch
