The North German Radio Orchestra conducted by Giuseppe Sinopoli performs this expressive, shimmering neo-impressionism by this poet of serialist composers. Written in 1972 on a commission from the Chicago Symphony Orchestra, Aura for Large Orchestra presents a rich, sensuous, "neo-impressionistic" soundscape.
The score is a skillful combination of fully notated composition and "aleatoric" sections with only the pitches notated. Composed in 1972, Biogramma is a three-part work for large orchestra that seems to breathe between phrases or gestures by notated pauses, caesuras, and momentary swells up and down in volume. Composed in 1969, in Quadrivium (Crossroads) for Four Percussionists and Four Orchestral Groups, the conductor stands at a crossroads as it were, continually selecting details that make up the progression of the music, the sound complexes, the entries of the groups. Each of the solo percussionists has a vast array of tuned and non-pitched percussion instruments, and each percussionist is associated with an orchestral group made up of the usual groups of woodwinds, strings and brass. The distribution of the instruments is guided by the traditional Venetian concept of the imitative polychoral or echoing style of Baroque composers such as the Gabrielis. Many fascinating and colorful timbres from the transparent to the overpowering are the result. And, of course, the combinations of the given material are different for every performance.