Raymond Deane Ripieno programme note

Raymond Deane Ripieno [30']

Programme note

In the Baroque concerto grosso, the term ripieno referred to the full orchestra as opposed to the concertino or group of soloists. I chose the word as the title of this large-scale work without a soloist, as I wished to avoid the compromising terms symphony or concerto for orchestra. However, the title evokes the possibility of an aesthetic of plenitude ("replenish") as against one of impoverishment; of dialectic, drama and perspective as opposed to the flat surface of post-modernism. Can this be done without lapsing into nostalgia? Ripieno sketches four answers which may themselves be questions.

Part I begins with a hushed trio for flutes, adumbrating much of the work's pitch-material. The entry of lower strings touches a chord that will recur at key points of each movement. The music becomes hectic before yielding to a hushed passage alternating celesta and solo strings. This in turn yields to a recurrence of the hectic material which brings the movement to a forceful close.

Part II is a kind of "Intermezzo" whose ingredients include fragments of Klangfarbenmelodie, staccato chords in the low registers, arpeggios in woodwind and pitches percussion, and a good deal of elaborate layering of the string ensemble.

Part III is a frenetic, fragmented "Scherzo" in which pitched percussion and piano - a kind of "gamelan from hell" - function almost as a concertino against the rest of the orchestra.

Part IV - the longest movement - is a kind of Passacaglia in which each section is centred on one of 14 pitches which are stated at the outset by celesta and harp. The apparent clarity of this scheme is progressively muddied and elements from Part I infiltrate the flow. Somewhere in the back of my mind were W. B. Yeats's lines "what rough beast, its hour come round at last, / Slouches towards Bethlehem to be born?" However, at the end of Ripieno the beast disappears into the ether.

Ripieno was composer between November 1998 and September 1999. The work uses a normal large orchestra - triple woodwind, eleven brass, percussion (without timpani), pianoforte/celesta, harp and strings. It is dedicated to Colman Pearce, who conducted the premiere on 14 April 2000 and who has tirelessly promoted the cause of new Irish music.

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