Trauerweide
for orchestra
2025 – rev. 2026
12-13 min
In my piece Trauerweide (the German word for "weeping willow", but also literally meaning "sorrow widow" or "meadow"), the characteristic swaying motion of the tree’s branches plays an essential role.
The main musical idea is a constant harmonic oscillation between chords of different spectra, making a fixed pitch (D4) appear in continually changing colors. Concurrently, the orchestration oscillates between contrasting instrumental groups on both micro- and macro-formal levels, shading these chords through slowly evolving timbres and shaping an overarching form. Noisy sounds add texture to the orchestration, blending with the harmoniesand making them more physical, while also introducing their own temporality with internal oscillations.
Rhythmical and percussive interjections emerge to contrast with the sustained chords. These elements are initially very short and fast, appearing in a very high register. As the piece unfolds, they return repeatedly, becoming
progressively slower, lower, and longer. If one wishes, this more rhythmical layer could be associated with a "Trauermarsch" ("funeral march") that seems to approach ever closer.
These harmonies, timbres, and noises sway in independent yet intertwined layers, while the rhythmical elements add a contrasting temporal dimension, creating a dense interplay of movements.
Despite an overall emphasis on oscillatory movement – which can be perceived as static – linear processes unfold quite imperceptibly and gradually lead the piece toward a clear peak. The harmonic progression slowly accelerates and culminates in a spectral chord with D as its fundamental, so that the D4 present from the very beginning finally becomes central, while still swaying and clashing with another spectral chord. This moment coincides with the slowest and lowest appearance of the rhythmical interjections, bringing the piece to its climax.
This piece is dedicated to Manolis Vlitakis, my first composition and orchestration teacher at UdK Berlin.
Instrumentation:
3 Flutes (2. Flute also Piccolo, 3. Flute also Alto-Flute and Piccolo)
2 Oboes
1 English Horn
3 Clarinets in Bb (3. Clarinet also Bass-Clarinet)
3 Bassoons (3. Bassoon also Contrabassoon)
4 Horns in F (with straight mute, 1. Horn additionally with harmon mute)
3 Trumpets in C (1. and 2. Trumpet with straight mute and harmon mute)
3 Trombones (1. Trombone with harmon mute and straight mute, 2. Trombone with harmon mute)
1 Tuba
Guitar
Harp
Piano
Celesta
2 Percussionists (Triangle, Crotales, Glockenspiel, 1 large suspended Cymbal, Bongos, large Tom, Bass drum,
small Tam-Tam, large Tam-Tam, Gong (pitched D, ideally D3), Tubular Bells, Vibraphone, Bass-Marimba, 2 hollow wooden object (boxes, containers, something with a wooden surface and some kind of resonant cavity), 2 small and slightly rough wooden blocks)
2 Timpani (D2 and A2)
8 first Violins (5. Violin with wooden mute)
8 second Violins (all with wooden mutes)
8 Violas
4 Cellos
4 Contrabasses (with 5 strings)
Additional Objects:
1. and 2. Oboe and 2. Clarinet: respectively with 2 small, very high sounding ceramic bird whistles
1., 2. and 3. Basoon: low sounding owl flutes
Timpani: hollow wooden object (box, container, something with a wooden surface and some kind of resonant cavity, small and slightly rough wooden block, crotale (pitched D, alternatively A), large cymbal, bow, jazz brushes
Piano: small and slightly rough wooden block, glass or bottleneck (of metal)
Guitar: small and slightly rough wooden block
Harp: small and slightly rough wooden block