Asyla
THOMAS ADÈS
MOVEMENT 3 (‘ECSTASIO’)
Background notes Introduction (bars 1-24)
O
‘Asyla’, Op.17, was first performed on 1st October 1997 O
An introductory passage increasing in intensity +
by Sir Simon Rattle + the City of Birmingham Symphony orchestral density
Orchestra Bars 1-8
↳
It was commissioned by the John Feeney Charitable
Trust for the CBSO
O
A sustained slow-moving harmonic pattern in the high
O
The work is in 4 movements + has often been called a strings
symphony in all but name ↳
G
Adès has never entirely explained the work’s title,
‘Asyla’
↳
The word is a plural of Asylum + so might refer to both
the idea of sanctuary + the madhouse Bars 9-16
O
‘Asyla’ won the Grawemeyer Award in 2000 G
A slightly varied repeat of bars 1–8 in the strings now
·
↳
Perhaps the most prestigious award that a O
A decorative figuration of the string pitches is added in
contemporary composer can receive the harp, celesta, piano + percussion
At bars 12–13 the first two notes of a theme that will
Structure
O
dominate Section A1 is introduced
O
The different sections of ‘Ecstasio’ may be shown as A falling semitone (D – C#) repeated at bars 16–17 +
↳
follows: 20–21
O
An overlapped 1-bar rhythm is introduced in percussion
3 + 4 starting at the end of bar 12, continuing to bar
23 (varied in the upper part after bar 15)
These two rhythms are made up of a rearrangement
↳
of the same three note values: 8: 5: 3 semiquavers
↳
-
C
Percussion 5 has a regular semiquaver pulse
Bars 17-24
O
A slightly varied repeat of bars 1–8 in the strings
O
At bar 21 the clarinets, bassoons and brass share pitches
found in the strings
↳
CD (enharmonic B) – G D – AD )
O
The previously overlapping rhythm is maintained in
percussion 2 (later 1) + 3
O
The regular semiquaver pulse in percussion 5 is
maintained
O
There is a gradual increase in the number of orchestral
instruments used between bars 9 + 24 + a short
transition to the next section at bar 24
THOMAS ADÈS
MOVEMENT 3 (‘ECSTASIO’)
Background notes Introduction (bars 1-24)
O
‘Asyla’, Op.17, was first performed on 1st October 1997 O
An introductory passage increasing in intensity +
by Sir Simon Rattle + the City of Birmingham Symphony orchestral density
Orchestra Bars 1-8
↳
It was commissioned by the John Feeney Charitable
Trust for the CBSO
O
A sustained slow-moving harmonic pattern in the high
O
The work is in 4 movements + has often been called a strings
symphony in all but name ↳
G
Adès has never entirely explained the work’s title,
‘Asyla’
↳
The word is a plural of Asylum + so might refer to both
the idea of sanctuary + the madhouse Bars 9-16
O
‘Asyla’ won the Grawemeyer Award in 2000 G
A slightly varied repeat of bars 1–8 in the strings now
·
↳
Perhaps the most prestigious award that a O
A decorative figuration of the string pitches is added in
contemporary composer can receive the harp, celesta, piano + percussion
At bars 12–13 the first two notes of a theme that will
Structure
O
dominate Section A1 is introduced
O
The different sections of ‘Ecstasio’ may be shown as A falling semitone (D – C#) repeated at bars 16–17 +
↳
follows: 20–21
O
An overlapped 1-bar rhythm is introduced in percussion
3 + 4 starting at the end of bar 12, continuing to bar
23 (varied in the upper part after bar 15)
These two rhythms are made up of a rearrangement
↳
of the same three note values: 8: 5: 3 semiquavers
↳
-
C
Percussion 5 has a regular semiquaver pulse
Bars 17-24
O
A slightly varied repeat of bars 1–8 in the strings
O
At bar 21 the clarinets, bassoons and brass share pitches
found in the strings
↳
CD (enharmonic B) – G D – AD )
O
The previously overlapping rhythm is maintained in
percussion 2 (later 1) + 3
O
The regular semiquaver pulse in percussion 5 is
maintained
O
There is a gradual increase in the number of orchestral
instruments used between bars 9 + 24 + a short
transition to the next section at bar 24
