Orchestra Violin 1, Violin 2, Viola, Cello, Contrabass SKU: PR.416414510 ...(+)
Orchestra Violin 1,
Violin 2, Viola, Cello,
Contrabass
SKU:
PR.416414510
For
String Orchestra.
Composed by Roger Zare.
Sws. Contemporary. Full
score. With Standard
notation. Composed 2008.
24 pages. Duration 9
minutes. Theodore Presser
Company #416-41451.
Published by Theodore
Presser Company
(PR.416414510).
ISBN
9781598068191. UPC:
680160611379. 9x12
inches.
The
enigmatic title of Roger
Zare’s overture is
an anagram of
Zauberflöte —
the work is based on
Mozart’s The Magic
Flute, breaking down
themes from the
opera’s overture
as well as the Queen of
the Night aria, and
spinning them out of
control. Zare’s
charming and clever work
includes an “Overt
Metrical Fugue,†(a
serendipitous anagram of
Magic Flute Overture)
using a subject that
mashes up all of the
disassembled Mozart
motives. After the fugue
runs its course, Zare
quotes small but
recognizable parts of the
overture almost verbatim,
but only from the players
farthest away from the
conductor to create a
disembodied
sound.
This work is
based on Mozart’s
overture to The Magic
Flute, breaking down the
themes and motives from
that overture as well as
the famous Queen of the
Night aria, “Der
Hölle Rache,â€
and spinning them out of
control. While the title
seems to be nonsense, it
is actually an anagram of
“Zauberflöte.â
I’m sure that
Mozart would have
appreciated the humor in
this work, even though
the harmonic language is
quite far removed from
the Classical era. The
piece opens with repeated
E-flats, suggesting the
beginning of the main
theme of the Magic Flute
overture, and it
gradually expands outward
chromatically, creating
gritty dissonances. Other
borrowed motives from
Mozart creep their way
in, as well as complex
polyrhythms on the
repeated notes. I imitate
the structure of
Mozart’s overture
by writing a fugue
(subtitled “Overt
Metrical Fugue,†a
serendipitous anagram of
Magic Flute Overture)
using a subject that
mashes up all of the
disassembled Mozart
motives. Gradually, I
work in references to the
excessively high
coloratura part of
“Der Hölle
Rache,†treating it
as a second subject.
After the fugue runs its
course, I quote small but
recognizable parts of the
overture almost verbatim,
but only from the players
farthest away from the
conductor tocreate a
disembodied sound.
Magic Flute Overture
