Burial Ground

Study Score | Woodwind Quintet

Study Score | Woodwind Quintet


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Christos Hatzis<br />

<strong>Burial</strong> <strong>Ground</strong><br />

Woodwind Quintet<br />

Facsimile Performance Set<br />



Christos Hatzis<br />

<strong>Burial</strong> <strong>Ground</strong><br />

Woodwind Quintet<br />

Facsimile Performance Set<br />

Score version December 1993<br />

<strong>Burial</strong> <strong>Ground</strong> was commissioned by 5th<br />

Spiecies, based in Toronto, Canada.<br />

This edition is a facsimile of the original score provided by the composer.<br />


© 1993 Promethean Editions Limited<br />

PO Box 10-143<br />

Wellington<br />


www.prometheaneditions.com<br />

+64 4 473 5033

Instrumentation<br />

Flutes<br />

Oboe<br />

Clarinet in BÏ<br />

Bassoon<br />

Horns in F<br />


Programme Notes<br />

<strong>Burial</strong> <strong>Ground</strong> is based on the well-known ground ‘When I am laid in earth...’<br />

from Purcell’s Dido and Aeneas. The original aria appears either fragmented<br />

or in its entirety and with varying degrees of comprehensibility throughout<br />

the piece. Its harmony and accompaniment are nearly always preserved, but<br />

they are masked by superimposed music drawn predominantly from the<br />

early part of the twentieth centry and by complex sound textures resulting<br />

from the use of extended woodwind techniques. Formally, the piece is a<br />

series of musical and sonic ‘wanderings’ with the Purcell original acting as<br />

departure and/or arrival points. The title - a pun - refers to the work’s emotional<br />

as well as its formal character. The text of the original aria reads as<br />

follows:<br />

When I am laid in earth<br />

Let my wrongs create<br />

No trouble in thy breast.<br />

Remember me, but oh!<br />

Forget my fate.<br />

The composer writes:<br />

<strong>Burial</strong> <strong>Ground</strong> is dedicated to the memory of my late friend Chari Polatos<br />

who was killed in a car crash on the night of May 7, 1992 on his way home<br />

from a 5th Species concert. A self-taught singer and instrumentalist of<br />

extraordinary talent, Chari was a unique individual. His idiosyncratic temperament<br />

and controversial ideas on life and art have been a standard against<br />

which I had to measure myself as an artist and a person for the better part of<br />

a decade. My musical choices in <strong>Burial</strong> <strong>Ground</strong> were triggered by memories<br />

from this friendship and by the text of the original aria.’

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