22751312
Symphony No 22 "Galaxymbion" Opus 33-36 - 1st Movement Opus 33 - (1 of 7) - Score Only
22751312
22751312
Symphony No 22
Symphony No 22
Symphony No 22
Symphony No 22
Symphony No 22
Symphony No 22
Symphony No 22
Symphony No 22
Symphony No 22
Symphony No 22
Symphony No 22
Symphony No 22

Digital Download

Symphony No 22 "Galaxymbion" Opus 33-36 - 1st Movement Opus 33 - (1 of 7) - Score Only Full Orchestra - Digital Sheet Music

Full Orchestra - Level 5 - Digital Download

SKU: A0.1425941

Composed by Grahame Gordon Innes. 21st Century,Classical,Contemporary,Film/TV. 43 pages. Grahame Gordon Innes #1006730. Published by Grahame Gordon Innes (A0.1425941).

Symphony No 22 "Galaxymbion" is a 7-movement symphonic setting of scenes from my novel "The Galaxymbion Odyssey"

MOVEMENT 1 – The Kytonian Expanse

TOTAL NUMBER OF BARS = 2670

TOTAL DURATION = 125 minutes

General methodology of composition;

1. No fixed tonal centre

2. Each movement inherits material from its predecessor

3. The work is modular. This means that the 1st, 4th and 7th movements can be presented together as the symphony proper if full staging is not possible. The movements that double as concertos can be presented separately in their own right, hence their individual opus numbers.

1. The work has developed from a highly individualized harmonic language that establishes its own laws independent from and additional to conventional harmonic practice. The same is true of the work’s unusual tonality. Central to this approach is the use of dodecaphonic principles in both the melodic and harmonic content. The intent here is to incorporate Schoenberg’s theoretical model of tone rows in an inclusive way, so that it is part of the work’s musical language and an additional tool in structuring and developing ideas. As a result the work remains tonal, albeit inhabiting a distinct and exotic aural landscape.

There is no rigid adherence to conventional forms or methods of symphonic development, rather the work takes an entirely eccentric and highly individual approach. Whilst this is the ‘spark’ or heart of the work there is still an intention to create music instead of noise. Discords are therefore used as elsewhere in my more conventionally tonal works; as a natural consequence of the work itself instead of a forced snub at tonal music.


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