Symphony No. 1 [conductor’s score]

Symphony No. 1, composed in 2013, was commissioned by the Ensemble Orchestral de Bruxelles and its conductor, Jacques Vanherenthals, to commemorate the ensemble’s 20th anniversary.

The work is structured in three movements:

I. Lento – Allegretto – Doppio più lento

The first movement opens with a long, expressive prelude entrusted to the strings, based on two motifs (A and B) introduced in imitation across the string sections. These are gradually joined by the brass, which introduce a third motif (C) in canon, written in sustained values, and the woodwinds, who present a fourth, more rhythmic motif (D) in rapid values, also treated canonically.

The four motifs are gradually superimposed, generating increasing tension until an abrupt shift in tempo to Allegretto. Here, motif D becomes the generative cell, initially stated by the flutes, then passed to the oboes and clarinets in progressively tighter canons. As the percussion joins in, the brass and strings reintroduce motif D in imitation, creating a texture of growing density.

A series of sudden modulations leads to the climactic transition into the Doppio più lento section. The lyricism of the opening returns, this time shaped around a new motif (E), which underpins the remainder of the movement, gradually joined by the earlier motifs in a rich polyphonic culmination.

II. Andante

The second movement adopts a ternary (ABA’) form. A pedal note, alternated between pizzicato cellos and timpani, grounds the section. Over this, a three-bar clarinet melody (motif A) unfolds, with each bar overlapping and enabling canon-like entries in the flute and oboe.

A contrasting motif (B), presented by the bass clarinet and cor anglais, is layered upon A, deepening the movement’s dark and tragic hue. The music builds gradually to a dramatic climax, ushering in the brighter, more virtuosic B section, which features animated interplay between the orchestral sections.

Eventually, motif A returns, recombined with earlier materials. The final section (A’) sees the gradual dissolution of both motifs A and B, fading into a dreamlike close.

III. Vivo

The final movement is spirited and virtuosic, juxtaposing rhythmic exuberance and lyrical episodes in an energetic interplay. These elements coalesce in a brilliant finale, bringing the symphony to a triumphant conclusion.