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Originally these fanfares were to open the piece, preceded by a short flourish, but this flourish grew and became the bulk of the work. Fragments of melodic lines and fanfares, loops and scales whirl around the orchestra forming a kind of moto perpetuo. The orchestra is used as a continually changing chamber ensemble with the energy level maintained permanently high, but with quiet, sotto voce dynamics for the most part. The only tutti occurs when the various elements are piled on top of each other at the end of the section, which suddenly coalesces into the fanfare proper.
from notes by Martin Suckling © 2013
|The Panufnik Legacies, Vol. 1|
An album of new works by ten emerging composers. The pieces—originally commissioned as part of the LSO Panufnik Scheme—were recorded in LSO St Luke's and are now presented on disc, enabling the LSO to share and promote the composers' music world-w ...» More