Peter Kolman: Panegyrikos (1964, rev. 1998)

Peter Kolman Panegyrikos (1964, rev. 1998)
Panegyrikos (1964, rev. 1998)

Peter Kolman: Panegyrikos (1964, rev. 1998)

Year of composition:
Scored for:
for 4 oboes, 4 trumpets, 4 violoncellos and 4 percussionists
Peter Kolman
Instrumentation details:
1st oboe
2nd oboe
3rd oboe
4th oboe
1st trumpet in C
2nd trumpet in C
3rd trumpet in C
4th trumpet in C
1st percussion
2nd percussion
3rd percussion
4th percussion
1st violoncello
2nd violoncello
3rd violoncello
4th violoncello
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Panegyrikos (1964, rev. 1998)

The complete perusal score (PDF-preview)

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

World première

Bratislava (SK)

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