Quintetto

for pianoquintet

This work explores all possibilities the arpeggio has to offer. Already in the diatonic introduction (Andante Modesto, ms.1-37), where only several pitches are used, the arpeggio appears as a colouring and contrasting factor opposed to the generally slowly moving motions. The second section (Allegro Moderato, mt.38-56) breathes by the grace of the arpeggio, just like the following section (mt.57-87) where a special sound is created mainly by the strings. The technique of producing an arpeggio is quite traditionally achieved here, like the way it is applied in romantic violinconcertos. The kind of hissing sound here is realized by few finger pressure, the way a harmonic is played, only here it is not played at the place on the fingerboard where harmonics are located. The result is some kind of mummyficated romanticism.
The arpeggio is used very irregularly and intense at the "Dance of the skeletons" (ms.88-171), a technical work of lonely heights for especially the pianist. Tempo Primo (ms.172-190) and Tempo del Danza (ms.191-2) are recapitulations of previous sections. The section that lasts until ms.131 is a victory of the arpeggio and sounds with the help of durchbrochene Arbeit like one large slur. The ‘quasi fugue’ which is following is inspired by the main motive (Motiva Principale) which appeared in ms. 87 with upbeat. As an ultimate consequence of the arpeggio, apocalyptic sirenes sound in the ending section.
The epilogue in the final ms. is an echoe of the main motive.

The Quintetto was commissioned by the Amardi Piano Quintet who will play the premiere in Musis Sacrum in Arnhem on May 2, 2004.
The work was financially supported by the Dutch Fonds voor de Scheppende Toonkunst.