Eirenicon : for symphony orchestra
by Brendan Colbert (2000)
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Eirenicon is defined in various sources as being: - a proposition for peace, - a statement to bring into harmony or synthesize conflicting doctrines, - an articulated compromise or reconciliation. I encountered this word while searching for a title prior to starting work on my piece. It was, coincidentally, at a time when our Prime Minister had yet again passed up an opportunity to advance the cause of reconciliation with our indigenous population, but had been able to express sorrow for the plight of textile workers who had recently been thrown out of work. Indeed, I too felt sympathy for the workers involved, but their plight seemed relatively inconsequential when compared with patent violations of human rights over the course of some two hundred years. I was therefore somewhat disturbed by the priorities being displayed by our national leader, and more than a little annoyed by his obstinate refusal to reasonably address an issue that so many Australians wish to see brought to an amicable resolution. Against this background Eirenicon struck me as an eminently suitable title. Musically however, Eirenicon is not a programmatic piece. It is naturally a reflection of its title in that these things were very much on my mind during the course of its composition, but, in common with most of my work, it is primarily an exploration of form, colour and texture developed within the limitations of the available instrumentation and as restricted by the commissioned length of the piece.
Instrumentation: 2 flutes (both doubling piccolo), 2 oboes (2nd doubling cor anglais), 2 clarinets in Bb (1st doubling clarinet in Eb, 2nd doubling bass clarinet), 2 bassoons, 2 horns in F, 2 trumpets in C, 2 trombones, bass trombone, tuba, timpani, percussion, harp, strings.
Duration: 11 min.
Dedication note: Dedicated to all those who have genuinely sought to advance the cause of reconciliation.
- Inspired by: Reconciliation
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