Mussorgsky: Without Sun
Details
Duration:
15'
Instrumentation:
voice 2.0.2.2 - 2.0.0.0 - str (6.6.4.4.2)
Based on texts by:
A.A. Golenishchev-Kutusov
Dedicated to:
Amsterdam Sinfonietta
Premiere:
21 March 1992, Concertgebouw Amsterdam, Birgit Remmert, Mezzo Soprano, Amsterdam Sinfonietta conducted by Lev Markiz
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Recording
Mussorgsky: The Nursery
Details
Duration:
14'
Instrumentation:
voice, 2.2.2.2 - 2.0.0.0 - perc, hp, str (6.6.4.4.2)
Commissioned by:
Amsterdam Sinfonietta with financial support from the Nestlé Composition Fund
In Theo's Own Words
“The Nursery is a cycle of seven songs for soprano and piano, for which Mussorgsky wrote the lyrics himself. The cycle originally consisted of just the first five songs. It was published in that form in 1872, with illustrations by the painter Repin, a friend of Mussorgsky. The later Bessel edition (1908) also contains the last two songs. The first song, With the Nanny, was created during the period when Mussorgsky was working on his first opera, The Marriage, of which only the first act was completed. There appears to be a clear relationship between these songs and that opera. Both contain some form of sound reproduction of the spoken word. The text intonation is fixed within the music, which leads to unexpected harmonic turns and a fluid rhythm in an irregular time signature.
The four songs that follow form a unit and were composed during the period when Mussorgsky was working on his most important work: the opera Boris Godunov. These songs also contain the naturalistic elements described above, but lyrical and even dramatic (‘opera-like’) elements, as well. The last two songs were composed almost two years later and are stylistically similar to the previous ones. Both songs contain a dialogue between mother and child, but they contrast greatly in terms of musical setting.
What is amazing about this cycle is the way in which Moussorgsky manages to put himself in the child’s position in a musical sense, and in his own unique way and with a minimum of means, he manages to achieve a maximum of content. All the prototypical moods of a child take place, such as cheerfully asking for a story, grumbling angrily in the corner, the fear of a beetle, and the loving care for a doll. Nowhere, however, does Moussorgsky fall into the extreme caricatures of The Marriage. With a little effort, one can distinguish the influence of Balakirev, Schumann, Liszt (who had a high opinion of this cycle) and Meyerbeer, while the visual power suggested in the music presages the twentieth century.
When Nieuw Sinfonietta Amsterdam asked me in early 1994 to think about making the instrumentation for The Nursery and the Songs and Dances of Death, I was initially hesitant. It wasn’t just that the combination of voice and piano as a genre is difficult to transcribe because of the balance issues. But also because, following my transcription of the song cycle Without Sun in 1989, I was afraid of stepping into the somewhat dubious role of ‘Mussorgsky arranger.’ After all, since Moussorgsky’s death in 1881, many composers have made arrangements of his brilliant but uneven oeuvre, with varying degrees of success. On the one hand, we have Ravel’s faithful orchestral adaptation of the Pictures of an Exhibition; on the other, there is that pinnacle of musical paternalism: Rimsky-Korsakov’s version of Night on Bare Mountain, in which little of the original is retained. Still, I couldn’t resist, partly because of the many piano-extract-like elements within the original accompaniment. These elements seem to me mainly down to the fact that besides these songs, Mussorgsky was almost entirely occupied writing an opera. In addition, he would have been acquainted with a lot of German and French opera repertoire in the form of reductions for voice and piano. All in all, it turned out that the piano accompaniment was quite easy to transcribe and it was perhaps no coincidence that I took the orchestral configuration of Ravel’s Ma Mère l’Oye as a point of departure: a work based on the Mother Goose fairy tales, and equally composed from the perspective of a child. Because of the small size of the orchestra, I could aim for the same effect as a ‘muted opera orchestra,’ so that the singing voice has all the space it needs.
The adaptation of The Nursery for soprano and chamber orchestra was made at the request of Nieuw Sinfonietta Amsterdam with financial support from the Nestlé Composition Fund.”
– Theo Verbey
In Concert
Nothing found.
Mussorgsky: Songs and Dances of Death
Details
Duration:
21'
Instrumentation:
voice 2perc, pf str (6.6.4.4.2)
Commissioned by:
Amsterdam Sinfonietta – with financial support from the Nestlé Composition Fund
Premiere:
19 Feb. 1996, Concertgebouw, Amsterdam – Nikita Storozjev, bass, Amsterdam Sinfonietta, Lev Marikz, conductor
In Theo's Own Words
“Songs and Dances of Death is a cycle of four songs for low voice and piano based on texts by Prince Golenistsjev-Koetoesov, one of Mussorgsky’s friends. The score was first published in 1882, by Bessel. The first three songs were written in the spring of 1875, the last song materialized in 1877. The lullaby is a dialogue between death and a mother, taking place above the cradle of her dying child at dawn. The mother fights for her child’s life, but death rocks the child into an eternal sleep. The poem is in atmosphere and content strongly related to the Erlkönig of Goethe, Franz Schubert’s ballad. The second song, Serenade, sketches how a sick woman is unable to sleep in the spring night. Under her window death brings a serenade, in which he sings of the woman’s beauty awaiting the eternal embrace. The third song tells of a drunken farmer who has stumbled in the obscurity of a snowstorm. In Death dances the Trepak with the farmer and sings in his ear: he invites the farmer to death. In the General Mussorgsky has used an existing theme from a Polish revolutionary march. After the battle, night falls, and death appears as the supreme general. He orders the fallen soldiers to join his army. One nevertheless will forget why and for what reason the soldiers have fought and death himself will be the only victor. Initially Mussorgsky planned to orchestrate this cycle himself, but it never happened. After his death both Glazunov and Rimsky-Korsakov made arrangements for voice and large orchestra. My instrumentation for voice and chamber orchestra, at the request of Nieuw Sinfonietta Amsterdam, is nearly the same as the 14th Symphony by Shostakovich. Both works have been written for a small string orchestra and percussion. I have strived in my arrangement in harmony to the poor, low and empty piano arrangement by Mussorgsky, and abandon any external show as much as possible. The percussion is only used at moments of abrupt changes in atmosphere.”
– Theo Verbey
In Concert
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Janacek: Sonate 1.X.1905
Details
Duration:
15'
Instrumentation:
3333 4331 timp 4perc hp str
Premiere:
9 May 2008, Vredenburg, Utrecht, Dutch Radio Philharmonic Orchestra, conducted by Claus Peter Flor
Recording
Reviews
Nothing found.
Gesualdo: Sacrae Cationes – 8 songs
Details
Duration:
20'
Instrumentation:
cantus, sextus, altus, quintus, tenor bassus
Commissioned by:
Cappella Gabrielli
About 'Gesualdo: Sacrae Cationes – 8 songs'
This is one of the motets from the Sacræ Cantiones II whose sextus and bassus parts were lost. Theo Verbey completed the score. Partly due to his work, the Cantiones Sacrae are now available for performance again after many centuries.
In Concert
Nothing found.
Recording
Berg: Sonata op. 1
Details
Duration:
11'
Instrumentation:
3(picc).2.CA.2(A).Bcl.2.Cfag - 4.3(Bes).3.1 - PK Slgw(SnDrum,Bdrum,Tr,Cymb,Gng,tamtam), hrp, strijkers (DB C-string)
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About 'Berg: Sonata op. 1'
In 1984, Theo Verbey orchestrated the Piano Sonata by Alban Berg (1885-1935). He took as a starting point the same instruments as those used in the Passacaglia, opus 1 by Anton Webern. According to Verbey:
“By orchestrating this sonata, you get a kind of ‘overture’ within Berg’s oeuvre; what fascinates me most about Berg is the mixing of musical genres. On the one hand, all of his pieces originate from strict formal ideas, and on the other, this is purely theatrical, emotional music. Just think of the opera ‘Wozzeck’, in which the main character’s emotional situation is constantly represented, while at the same time, only strict forms are used. During the opening of this instrumentation of the Piano Sonata, even the boundary between chamber and orchestral music is erased: the piece begins as a string quartet.”
Verbey based his instrumentation on the exceptionally varied orchestral sound of Mahler and Berg. This is evidenced by the use of mutes in the strings and brass, the style of writing for harp, and the contrasts between solo and tutti strings. Verbey adhered very closely to Berg’s original score.
In Concert
Press Quotes
Berg/Verbey Sonata op. 1
“Theo Verbey’s orchestration of Alban Berg’s Sonato for piano Op.1 from 1984 sounded Mahleresque in its ability to carry one away. The beauty of sound is not only astonishing, but also serves to shine a beacon on Berg’s romantic roots.”
Joachem Valkenburg, NRC Handelsblad, 16 September 2005
Video
Berg: Piano Sonata, Op. 1 - Mässig bewegt (Orch. Verbey)
12:21
Recording
Berg: 3 Pieces (Nr. 1, 5, 6)
In Theo's Own Words
“Alban Berg arranged Three Pieces (I, III and IV) from the Lyric Suite (originally for string quartet) for string orchestra in 1927. My arrangement of the three remaining movements (I, V and VI) means it is now possible to perform the complete Lyric Suite for string orchestra as part of a larger concert program. In orchestrating it, I have kept as close as possible to Berg’s style. From previous experience (my adaptation of the Sonate op 1 for piano [1908] for orchestra of 1984), I know that the enormous intensity of the music asks for a great diversity of ideas regarding texture and individual part writing. On a more basic, technical level this means that the double stops in the quartet version are usually replaced by solo/tutti-divisi or ordinary divisions. The adding of the double bass line often has consequences for the other parts. These “six rather short movements of a lyrical rather than symphonic character” (as Berg called it) are easier to perform with larger groups than with a string quartet. The piece is enhanced by the richness of sound and clarification of structure.”
– Theo Verbey
In Concert
Nothing found.
Reviews
Nothing found.
Video
Liebestod
4:09
Recording
Bach: Three Choral Preludes
Bach: Three Choral Preludes
Inst. Theo Verbey | 2013
About 'Bach: Three Choral Preludes'
- Christus der uns selig macht, BWV 621
- Herr Jesu Christ, dich zu uns wend, BWV 655
- Nun komm’ der Heiden Heiland, BWV 659
Bach: Ouverture in the French Style BWV 831
Details
Duration:
31'
Instrumentation:
Traverso (flute), strings and continuo
Can also be performed as part of the suite called “Orchesterübung,” together with Verbey’s arrangement of Bach’s Italian Concerto in G BWV 971 for solo violin, strings and continuo, plus two original works, the Ouverture (Suite) in G and Ouverture (Suite) in D in the style of Bach, written by Verbey and based on BWV 1066 and 1068 respectively.
In Theo's Own Words
“Back in the early 1990s I began working on an instrumentation of Bach’s Ouvertüre nach französische Art (B minor Partita) BWV 831 for transverse flute, strings and continuo. I had a strong urge to do this when, after having written a few Bach fugues while majoring in Music Theory, I then wanted to delve further into the harmonic / instrumental counterpoint of Bach with a view to specializing in the methodology of teaching counterpoint. The remarkable thing about the two keyboard works in the second part of the Clavierübung (1735) is that they actually appear to be two keyboard transcriptions of orchestral works. At that time, the need for purely orchestral music was of course extremely limited, and music that had no practical purpose was simply not composed. At the beginning of April 2000, when it became clear that no living composer would be taking part in commemorating the two-hundred-and-fiftieth anniversary of the death of the greatest composer of all time, I decided to return to and complete my arrangement of the Overture BWV 831 for transverse flute, strings and continuo. The problems I had run up against in the early 1990s mainly revolved around Bach’s treatment of dissonance and parallelism in his contrapuntal writing circa 1730. After re-analyzing the four Ouvertüren (BWV 1066-1069), the following books in particular helped me a great deal in my writing:
- Laurence Dreyfus: – Bach and the patterns of invention (1996) – Bach’s Continuo Group (1987)
- Jesper Bøje Christensen: – Die Grundlagen des Generalbaßspiels in 18. Jahrhundert (1992)
- Dietrich Bartel: – Handbuch der musikalische Figurenlehre (1997)
- Alfred Mann: – The Study of the Fugue (1987)
- Robert L. Marshall: – The Music of Johann Sebastian Bach (1989)
- and especially Philipp Spitta – Johann Sebastian Bach (Part III, Appendix XII), which contains Bach’s own rules for playing the continuo.
French counterpoint books, such as those of Gedalge (1901), Dupré (1938) and Koechlin (1926), proved of little use, despite their charm. My attempt seemed to have turned out not too unsatisfactorily. And, since completing the exercise made me hungry for more, I went on to write two Ouvertures in the style of Bach, in May and June of 2000, after BWV 1066 and BWV 1068 respectively. Finally, in July 2000, I rewrote the Konzert im Italienischen gusto as a Concerto for violin solo, strings and continuo, and decided to give the whole piece—consisting of four orchestral works—the title Orchesterübung, with a nod to the Clavierübung.”
– Theo Verbey
Bach: Italian Concerto BWV 971
Details
Duration:
13'
Instrumentation:
solo violin, strings, continuo
Written in honor of the 250th anniversary of Bach’s death. Can also be performed as part of the suite called “Orchesterübung,” together with Verbey’s arrangement of Bach’s Ouverture in the French Style BWV 831 for solo traverso, strings and continuo, plus two original works, the Ouverture (Suite) in G and Ouverture (Suite) in D in the style of Bach, written by Verbey and based on BWV 1066 and 1068 respectively.
In Theo's Own Words
“Back in the early 1990s I began working on an instrumentation of Bach’s Ouvertüre nach französische Art (B minor Partita) BWV 831 for transverse flute, strings and continuo. I had a strong urge to do this when, after having written a few Bach fugues while majoring in Music Theory, I then wanted to delve further into the harmonic / instrumental counterpoint of Bach with a view to specializing in the methodology of teaching counterpoint. The remarkable thing about the two keyboard works in the second part of the Clavierübung (1735) is that they actually appear to be two keyboard transcriptions of orchestral works. At that time, the need for purely orchestral music was of course extremely limited, and music that had no practical purpose was simply not composed. At the beginning of April 2000, when it became clear that no living composer would be taking part in commemorating the two-hundred-and-fiftieth anniversary of the death of the greatest composer of all time, I decided to return to and complete my arrangement of the Overture BWV 831 for transverse flute, strings and continuo. The problems I had run up against in the early 1990s mainly revolved around Bach’s treatment of dissonance and parallelism in his contrapuntal writing circa 1730. After re-analyzing the four Ouvertüren (BWV 1066-1069), the following books in particular helped me a great deal in my writing:
- Laurence Dreyfus: – Bach and the patterns of invention (1996) – Bach’s Continuo Group (1987)
- Jesper Bøje Christensen: – Die Grundlagen des Generalbaßspiels in 18. Jahrhundert (1992)
- Dietrich Bartel: – Handbuch der musikalische Figurenlehre (1997)
- Alfred Mann: – The Study of the Fugue (1987)
- Robert L. Marshall: – The Music of Johann Sebastian Bach (1989)
- and especially Philipp Spitta – Johann Sebastian Bach (Part III, Appendix XII), which contains Bach’s own rules for playing the continuo.
French counterpoint books, such as those of Gedalge (1901), Dupré (1938) and Koechlin (1926), proved of little use, despite their charm. My attempt seemed to have turned out not too unsatisfactorily. And, since completing the exercise made me hungry for more, I went on to write two Ouvertures in the style of Bach, in May and June of 2000, after BWV 1066 and BWV 1068 respectively. Finally, in July 2000, I rewrote the Konzert im Italienischen gusto as a Concerto for violin solo, strings and continuo, and decided to give the whole piece—consisting of four orchestral works—the title Orchesterübung, with a nod to the Clavierübung.”
– Theo Verbey