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Symphony No. 4

COMPOSER: Poul Ruders
PUBLISHER: Edition Wilhelm Hansen
PRODUCT TYPE: Set
INSTRUMENT GROUP: Orchestra
The organ part and reduced score Symphony No. 4 - An Organ Symphony (2008) by Poul Ruders . Full score: WH31186 Orch. parts are available on hire: hire@ewh.dk Preface /Programme Note When introducing a large-scale symphonic work not only as a symphony, but as an organ symphony, it would
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Specifications
Composer Poul Ruders
Publisher Edition Wilhelm Hansen
Instrumentation Organ and Orchestra
Product Type Set
Instrument Group Orchestra
Style Period Post 1901
ISBN 9788759820841
Style Period Post 1901
No. Pages 103
No. WH31186C
Description

The organ part and reduced score Symphony No. 4 - An Organ Symphony (2008) by Poul Ruders.

Full score: WH31186

Orch. parts are available on hire: hire@ewh.dk

Preface /Programme Note

When introducing a large-scale symphonic work not only as a symphony, but as an organ symphony, it would be impossible not to think of and perhaps compare it with Camille Saint-Saëns’sfamous SYMPHONY NO. 3, popularly known as the Organ Symphony. Well, that is a risk I am prepared to take – and live with the consequences.
Saint-Saëns, however, listed his work as a symphonyavec/withorgan. The organ only appears in two out of the four sections of thepiece. In my symphony, the instrument plays a far more significant part and is featured in all four movements. But it is not a concerto for organ andorchestra, rather a symphony with organo obligato - a symphony with an organ part of a soloistic nature. So, an Organ Symphony it is.


The first movement, PRELUDE, is exactly that: a foreplay to what is instore for the rest of the symphony. It is slow (very slow!) and predominantly hushed: the organ and the orchestra wake up, side-by-side, getting to know one another.
The second movement, CORTÈGE, is a slowlymoving processional and it evokes extreme solemnity and austerity. Later on, the music takes flight and the atmosphere lightens considerably, a far more playful music emerging.
This leads to the third movement,ETUDE, an exercise in instrumental virtuosity and technical challenge.
The fourth and last movement is called CHACONNE, but I could just as well have named it passacaglia (the definition of those two terms seems toblur, even among the learned). Bearing in mind the last movement of Johannes Brahms´s SYMPHONY NO.
4, which is universally agreed on as being a passacaglia, I chose to avoid the Wrath of the Gods and opted for

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