Universal Edition - Peter Kolman – Panegyrikos (1964, rev. 1998)

Peter Kolman

Peter Kolman
Panegyrikos (1964, rev. 1998)

Year of composition: 1964/1998
Scored for: for 4 oboes, 4 trumpets, 4 violoncellos and 4 percussionists
Composer: Peter Kolman
Instrumentation details:

Duration: 9′
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Audio Excerpt

Panegyrikos (1964, rev. 1998)

World Première

Location: Bratislava / Slowakia
Date: 24.01.1965
Remarks: venue: Konzertsaal des Tschechoslowakischen Rundfunks performers: Kammerensemble für Neue Musik

Work Introduction

After pieces having the character of experimental exploration of elemental dispositions, marked by strictly determined structures and sonically modelled surfaces, Kolman applied his experiences in the field of contextually weightier and tectonically more meaningful unity, this time aligning with the intentions of Edgar Varèse’s work (e.g. Hyperion and Intégrales), especially within the equilibrium of an ensemble of a wind group and another consisting of differentiated percussion, eschewing melody in favour of a strange manipulation of melody instruments and intending to use the diastematic dimension for a methodical building and deconstruction of blocks of sound of differing density. The composer’s feel for expression, dimensional contrasts and dynamically cambered form are prominent in the foreground of the piece; he is musically working out Panegyrikos – a public speech to the people and to the individual.

The composition lasts about nine minutes; it is subdivided into several interrelated sections, in each of which one instrumental group dominates. Kolman was mindful of the musicians’ positioning in the performing space, in order to attain an effect of stereophonic sound.

The composition is particularly intriguing in the way it manipulates sonic contrasts. On the one hand, rhythmic irregularities predominate, the percussion instruments ensuring tension and, on the other, the manifold options of sounds available on the violoncello (glissandi and jetés) and in the winds (muted trumpets) form a striking element of the composition’s static sonic character, aptly describable as cohesive.

The piece consists of eight coordinated sections with a dynamic climax in the finale.

Susanna Balaun

Translated by Grant Chorley

View the full study score

1 Ensemble that has played this work:

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