Despite these diverse components, Hillborg manages to make Exquisite Corpse cohere from beginning to end. Hillborg intersperses homages to his compositional mentors with a lofty brass fanfare, a ritualized drumming section, and a thickly textured phrase for strings that recalls Paul Dukas’ Sorcerer’s Apprentice. One can hear Hillborg’s Exquisite Corpse as his musical imagining of the game played by some of the composers whose work has most deeply influenced him, including György Ligeti, Jean Sibelius, and Igor Stravinsky. Alan Gilbert led the Royal Stockholm Philharmonic in the first performance in Stockholm, on October 24, 2002.įor the Surrealists, fascinated with the concept of the unconscious mind, this game provided a means for accessing what lay beneath mindful thoughts and choices. In one early example, participants came up with the sentence, “Le cadavre exquis boira le vin nouveau” (The exquisite corpse will drink the new wine). When finished, each player folds over the paper before passing it on, hiding their contribution from the next player. I also believe that it makes for fairly easy listening.” This 15-minute piece takes its name from a Surrealist parlor game of the 1920s, in which participants take turns contributing a single sentence (sometimes just a single word) to a collaborative story. When asked which piece someone unfamiliar with his music should hear first, Hillborg replied, “ Exquisite Corpse, where I succeeded in making the music precise and varied. Hillborg’s enduring love affair with sound – he once described the orchestra as a “sound animal” – is reflected in his use of unique timbres, artful counterpoint, and his ability to draw audiences in to his unique sonic realm. Since 1982, he has made his living as a full-time composer, a testament to his music’s lasting appeal to audiences around the world. “Hillborg creates pools of liquid sound … That is to say, his is a science fiction of our time – we recognize the strangeness.” – music critic Mark Swed, Los Angeles TimesĪnders Hillborg, considered Sweden’s foremost living composer, explores a wide spectrum of styles in his music, and he is equally at home in a variety of genres, including electronic, choral, film, television, chamber, and orchestral music. Instrumentation: piccolo, 2 flutes, 2 oboes, English horn, 3 clarinets, bass clarinet, 2 bassoons, contrabassoon, 4 horns, 3 trumpets, 3 trombones, cimbasso, timpani, bass drum, bongos, chimes, 3 congas, crotales, glockenspiel, 3 log drums, marimba, opera gong, tam-tam, 5 tomtoms, triangle, vibraphone, xylophone, piano, harp, and strings Format 2 sound discs (92 min., 33 sec.) : digital 4 3/4 in.Sergei Rachmaninoff: Symphonic Dances, Op. Publisher New Rochelle, NY : Bridge, p2003. Selections 1964 New Zealand tour God save the King. Touch her soft lips and part., Walton, William, 1902-1983. Partita, orchestra., Walton, William, 1902-1983. Concertos, violin, orchestra, Walton, William, 1902-1983. : ports.) inserted in container.įull list of orchestral members printed in container insert.īerl Senofsky, violin (1st work) New Zealand Symphony Orchestra Sir William Walton, conductor. Program notes by Joy Tonks and Malcolm MacDonald, and biographical notes on the violinist ( p. 1 (43:14) - Touch her soft lips and part : from the film score to Henry V (2:46) - Passacaglia: The death of Falstaff : from the film score to Henry V (1:47). God save the Queen (0:58) - Violin concerto (28:02) - Partita for orchestra (15:36) - Symphony no. See original record Date 2003-1964 By Walton, William, 1902-1983., Senofsky, Berl, 1925-2002., New Zealand Symphony Orchestra.