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1808602
1808602
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1808602

Chamber Symphony

For six players

By Ellen Taaffe Zwilich

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Chamber Bass Clarinet, Clarinet, Flute, Piano, Piccolo, Viola, Violin, Violoncello
For six players. Composed by Ellen Taaffe Zwilich (1939-). Written and First Performed on November 30, 1979 by the Boston Musica Viva, Richard Pittman Conductor. Classical. Set of Score and Parts. With Standard notation. Duration 17 minutes. Theodore Presser Company #144-40089. Published by Theodore Presser Company (PR.144400890).

Item Number: PR.144400890

Key: C major.

Chamber Symphony was written for the Boston Musica Viva, Richard Pittman, conductor, who premiered the piece shortly after its completion in November, 1979. Scored for Flute doubling Piccolo, Clarinet doubling Bass Clarinet, Violin, Viola, Cello, and Piano, the work is cast in a single movement which evolves from the initial material. Perhaps the most significant formal process in the piece is the development of long lines from shorter ideas. The character transformation that occurs in the course of thematic and motivic evolution is also of formal importance. In Chamber Symphony, the orchestration also contributes to the shape and meaning of the work. I sought both to exploit the solo capabilities of each instrument and to contrast that with the use of doublings and other devices to achieve an almost orchestral sound. For me, however, the ultimate meaning of this Chamber Symphony is in connection with the fact that it was written not long after the sudden death of my husband, violinist Joseph Zwilich.
Chamber Symphony was written for the Boston Musica Viva, Richard Pittman, conductor, who premiered the piece shortly after its completion in November, 1979. Scored for Flute doubling Piccolo, Clarinet doubling Bass Clarinet, Violin, Viola, Cello, and Piano, the work is cast in a single movement which evolves from the initial material. Perhaps the most significant formal process in the piece is the development of long lines from shorter ideas. The character transformation that occurs in the course of thematic and motivic evolution is also of formal importance. In Chamber Symphony, the orchestration also contributes to the shape and meaning of the work. I sought both to exploit the solo capabilities of each instrument and to contrast that with the use of doublings and other devices to achieve an almost orchestral sound. For me, however, the ultimate meaning of this Chamber Symphony is in connection with the fact that it was written not long after the sudden death of my husband, violinist Joseph Zwilich.

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