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Blue Work


Anastasis

for full orchestra

Year:  2009   ·  Duration:  20m
Instrumentation:  3*3*3**3*; 4331; timp; perc; hp; strings

Year:  2009
Duration:  20m
Instrumentation  3*3*3**3*; 4331; timp; perc...

Chris Adams
Composer

Composer:   Chris Adams

Films, Audio & Samples

Chris Adams: Anastasis; audio

Embedded audio
See details ➔
Sample Score

Sample: Page 5, 11, 19, 29 and 32

See details ➔

Borrow/Hire:

To borrow or hire parts please email SOUNZ directly at info@sounz.org.nz. Please note that only library members in New Zealand and Australia can borrow or hire parts.

About

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."


Commissioned note

Written for the Auckland Philharmonia, as part of the Composer in Residence in 2009


Contents note

Four movements – similar to those of the traditional symphony; a fast opening movement, a slower second movement, a Tango for the third, replacing the usual Scherzo, and then a fast finale.


Performance history