Konzertante Formen (2022)

This orchestral work was composed in 2022 and, as the title suggests, explores the concert form.

The ‘concertare’ here consists of a lively interplay between different groups of instruments, which are effectively interrupted from time to time by tutti passages accompanied by rhythmic percussion. The string section, often combined with harp sounds, is consistently arranged in a choral manner, forming the tonal foundation with melodically varied sequences interwoven with counterpoint, which develops into dynamic intensifications several times throughout the piece.

Formally, the work is divided into three movements, each introducing different aspects of musical expression.

The first section begins with a brief contrast between wind chords and the string orchestra. In the following sections, this gives rise to a kind of polyphonic main theme. The concertante element – the interplay between the different sections – becomes increasingly apparent. The traditional structure is expanded through solo wind parts, dynamic passages and playful episodes. This opens up a wide range of expressive possibilities, as solo instruments are integrated into the orchestra as obbligatos, entering into a partnership with other instruments to perform in duet. The interplay with the strings becomes livelier and more intense, and there are several moments of intensification which lead to the first tutti climax at the end of this movement.

After a brief transition, the concertante character is more pronounced in the middle section. The dialogue-like interplay now focuses on wind instruments of the same family, which present their musical results together in duets and sometimes also appear in the form of a close-voiced ensemble up to a sextet. The rest of the orchestra has an accompanying role, but also influences the action through rhythmically pointed passages and imitative interjections, and comes to the fore with planned interludes. As in the first movement, there is a second tutti climax at the end.

The third section has the character of a recapitulation, but is enriched by the continuation of the duo motifs from the middle section; it rapidly gains in density through block-like crescendos and culminates with powerful intensity in two tutti passages. Subsequently, the music returns to earlier material, but with greater movement, particularly in the strings. As the dynamics build, the actual climax of the piece is reached, combined with a synthesis of the entire musical material.

In the manner of a coda, a calmly flowing finale introduces the conclusion, with elements from the first movement reappearing as a reminiscence.