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Universal Edition - Friedrich Cerha – 3 Sätze

Friedrich Cerha

Friedrich Cerha
3 Sätze

Year of composition: 2012
Scored for: for orchestra
Composer: Friedrich Cerha
Instrumentation: 3 2 3 3 - 4 3 3 1 - timp, perc(4), hp, str
Instrumentation details:
1st flute
2nd flute (+1stpicc)
3rd flute (+2ndpicc)
1st oboe
2nd oboe (+c.a)
1st clarinet in A
2nd clarinet in A
3rd clarinet in A (+cl(Eb)
bass cl(Bb))
1st bassoon
2nd bassoon
3rd bassoon
1st horn in F
2nd horn in F
3rd horn in F
4th horn in F
1st trumpet in C
2nd trumpet in C
3rd trumpet in C
1st trombone
2nd trombone
3rd trombone
bass tuba
timpani
1st percussion
2nd percussion
3rd percussion
4th percussion
harp
violin I
violin II
viola
violoncello
double bass
Commissioned by: Auftragswerk der Gesellschaft der Musikfreunde in Wien
Duration: 13′
 
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  • Cerha Friedrich

  • 3 Sätze





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World Première

Location: Musikverein, Großer Saal Wien / Austria
Date: 09.04.2016
Orchestra: ORF Radio-Symphonieorchester Wien
Conductor: Cornelius Meister
Main Soloists:

Work Introduction

With regard to my work, reference has often beenmade to its stylistic variety, its differing material and treatment of the latter, whereby I occasionally detected a touch of discrimination in the sense of arbitrariness in that material. In fact works of very different character came into being in temporal-contiguous proximity, the responsibility lying in the fact that, in several stages of my development, I have proceeded from one point in pursuing various evolutionary strands which grew apart as they developed. Thus a direct comparison of simultaneously created [works] can lead to a somewhat hapless detection of “variety.”

Given that interest exists in pursuing the consistency of a development (which is not necessary for the recipient of a single work), a piece must be placed in a relation to earlier works of the corresponding strand of development in order to gain insight into the logic of a line of evolutionary development. (Incidentally, perception and deliberate parallel pursuit of varying notions and ways of thinking of music were already salient features of my work in the 1940s; I was emphatically emboldened in this by my friend Paul Kont, who was involved with similar concepts).

The sketches for the Drei Sätze für Orchester were already completed in 2011 while I was working on the Drei Orchesterstücke [“Three Orchestra Pieces”]; I finished the full score in March and April 2012.

The eruptive, dramatic element, the subversive protesting of the Intermezzo from the Drei Orchesterstücke are eschewed here, as is the statuary aspect of “Tombeau”.

The vitality of the first piece depends on contiguity, the interplay of rhythmised layers.

The cor anglais and the flute, deployed in soloistic contemplation, dominate the second movement; initially, the orchestra has mere interjections and short interludes, gaining its own character only in the final section and ending with pianissimo string chords.

The third piece is lively concertante, with one rather sombre episode in the middle. It requires a plenitude of virtuosity form the orchestra.

Friedrich Cerha

View the full score

study score - 3 Sätze

3 Sätze
  • for orchestra
  • Edition type: study score

Future Performances

20.08.2017
Location: Osnabrück Halle, Osnabrück (D), Orchestra: Osnabrücker Symphonieorchester, Conductor: Andreas Hotz


21.08.2017
Location: Osnabrück Halle, Osnabrück (D), Orchestra: Osnabrücker Symphonieorchester, Conductor: Andreas Hotz


23.04.2018
Location: Brucknerhaus, Linz (A), Orchestra: ORF Radio-Symphonieorchester Wien, Conductor: Cornelius Meister

2 Ensembles that have played this work:

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