Anastasis is an exploration of musical contrasts where chamber music elements of intimacy and social interplay are juxtaposed with the colour and power of a full symphonic orchestra. Baroque Concerto Grosso traditions form the conceptual basis of Anastasis: instrumental divisions within the orchestra, like the wind sections, are exploited, and new instrumental groupings have been created using combinations of individual players across the ensemble. Elements from the twentieth century Concerto for Orchestra form have also been utilised, particularly the focus on the diversity of instrumental colour, extended instrumental range and virtuosity, and the array of dynamic and textural possibilities.
“Anastasis, our first taste of the APO’s resident composer, Chris Adams, proved to be a most attractive score.
Adams knows where and how to uncover unexpected colours in a piece that enjoys jolting us with huge orchestral shouts in among more subdued, almost filigree passages.
The second movement unfolds, with woodwind patterning, from lounge-laden harmonies and Adams nods to all manner of musics throughout the piece, right through to its conga-line finale.
It is an appealing score that deserves a life beyound this single performance."
William Dart, NZ Herald 7th September, 2009
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The human brain is capable of remarkable feats of understanding and analysis, yet has trouble simply imagining its own death. Death is our blind spot — we cannot conceive of an end to our perceptions and experiences, so we are forced to invent stories about what we will experience after we die.
As a result, human culture overflows with afterworld narratives, and in some cases these have become rich in specific details, textures and landscapes: afterworlds may be light, dark, watery, icy, misty, subterranean, found in the clouds, in the earth, in the sun, in the moon; they may be places of peace and redemption, or places of violence and damnation.