Broken Symmetry was designed as a scherzo, but its structure is complex. Colin Matthews. The development of this material is much more energetic, and the return of the trumpets is wild and violent. When the Royal Festival Hall first opened Leopold Stokowski wrote to The Times pointing out that the wood-clad hall was bass light and that the best way to achieve a good bass sound was to range the double basses across the back of the stage. The all-persuasive C sharp of Broken Symmetry drops down a semitone to underpin Metamorphosis with deep pedal C. To follow such a manic scherzo with anything other than a mood of reflection seemed impossible, and though the textures are often complex, the music is hushed throughout, and for the most part tranquil. The evening opened with a performance of Metamorphosis, the concluding part of a larger work, Renewal, by Colin Matthews to words by the Latin poet Ovid reflecting the impermanence of all things. By clicking “Accept”, you consent to the use of ALL the cookies.This website uses cookies to improve your experience while you navigate through the website. After its second performance, at the Proms that same year, Nicholas Kenyon reminded me of what I had said, and asked me when I was going to write the rest of it. For the framework of the second part, a Threnody dedicated to the memory of Toru Takemitsu, who died while I was writing it, I turned to another pre-existing piece, Memorial, composed for the London Symphony Orchestra in 1992.

composed: his mighty ‘Resurrection’ Symphony. It is mandatory to procure user consent prior to running these cookies on your website.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 use cookies on our website to give you the most relevant experience by remembering your preferences and repeat visits. [New!] This elided seamlessly without any break into the Resurrection, an imaginative opener. Colin Matthews Metamorphosis Mahler Symphony No. For the most part it is slow, quiet and reflective as one would expect with a text dwelling on the fact that “All things are changed” (omnia mutantur) and “Nothing in the whole world endures unchanged” (nil est quod perstet toto in orbe), but occasionally flares up into unexpected outbursts. I said then that I had thought of Broken Symmetry as perhaps the scherzo of a ‘mega-work’. I said then that I had thought of Broken Symmetry as perhaps the scherzo of a ‘mega-work’. Underpinning the rich stylistic diversity of Colin Matthews’s work is an unparalleled sense of architecture, combining a forensic attention to detail with a lucid sense of overall form. The final part, Metamorphoses, for chorus and orchestra, sets a text derived from Ovid’s Metamorphoses, describing the philosophy of Pythagoras: ‘Nothing in the whole world endures unchanged…everything is renewed’ From this comes the title of the whole work.