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Percussion / Percussion Sextet

metamORFFosen/Cornelius Hirsch

  • Sextet in the same instrumentation from Orff's Carmina Burana

    playing grade: medium to difficult

    Duration Time: 18 min.

    Singlescores available

    ISMN Nr 979-050220-146-3

    Notes on the composition by Cornelius Hirsch

    I met Carl Orff personally as a 10-year-old concert-goer.

    Later, as a percussion student, I had the pleasure of being able to participate in various performances ("Carmina Burana", "Catulli Carmina", "Die Bernauerin") in Munich while he was there. As a young musician, I was impressed by Orff's idiosyncratic musical language - an influence that was to last for a long time, indirectly through my several decades of collaboration with Josef Anton Riedl, who was sponsored by Orff in the 1950s.

     

    The “metamORFFosen” for percussion sextet are intended as an homage to Carl Orff, who gave the percussion a completely new, and for the first time, dominant role in his work. Eight of the short movements are arrangements from various earlier compositions of mine, now with exactly the percussion instrumentation that Orff intended for his "Carmina Burana". The last movement is also a Quodlibet woven exclusively from particularly succinct drum phrases from this piece.

    Thus, a performance of the “metamORFFosen” in the run-up to what is probably Carl Orff's most famous work is not only obvious, but also practical, since the same instruments are required in both pieces in the same arrangement and with the same number of players.

     

    Like many of Orff's pieces or pieces from the Renaissance and the early Baroque, which he loved so much, one can also realize the “metamORFosen” in other scoring variations than the present one. The high percussion instruments of a certain pitch can be amplified or replaced by higher wind or string instruments, while the timpani part can be taken over by bassoon, trombone, tuba, cello or double bass. The tambourine, bells and snare drum can be replaced by rattles of all kinds as desired. The rest of the percussion can also be re-instrumented as you like (maybe even with new percussion instruments you have invented yourself?), Which could give the individual movements a completely new character.

    Such a lively way of dealing with my proposed template would not only fit into my concept, but would also be in Carl Orff's interest.

    Cornelius Hirsch 2021

     

    [For better manageability of the sheet music in the case of performance, individual parts can be delivered as pdf.]

     

     

     

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