KAISERPFALZ

Piccolo

Flute 1, 2

Oboe 1, 2

English Horn

Eb Clarinet

Bb Clarinet 1, 2, 3

Bass Clarinet

Soprano Sax

Alto Sax. 1, 2

Tenor Sax 1, 2 

Baritone Sax.

Bassoon 1, 2

Horn in F 1, 2, 3, 4

Bb Trumpet 1, 2, 3

Flugelhorn 1, 2

Trombone 1, 2, 3

Euphonium in C 1, 2

Tuba 1, 2

Timpani

Percussion 1 (Bass Drum)

Percussion 2 (Tam tam, Suspended Cymbal (medium))

Percussion 3 (Toms (4), Pair of Cymbals, Woodblocks (4))

Percussion 4 (Vibes, Glockenspiel, Tambourine)

Percussion 5 (Tubular Bells, Chimes, Pair of Cymbals, Triangle)

“Kaiserpfalz” is a work composed in 2013 for band performance. It was premiered at the “V Iberoamerican Congress of Composers, Conductors and Arrangers of Symphonic Bands and Ensembles”, conducted by Felix Hauswirth. 

The piece lasts about six and a half minutes and is based, from a personal and subjective perspective, on the fortress at Kaiserswerth, in Düsseldorf, Germany. The Kaiserpfalz, built in 1045, was one of the Holy Roman Emperor’s numerous imperial palaces or temporary seats of power. Due to its strategic position, it changed hands several times, passing through Frederick I Barbarossa, the Spanish (1589–1592), Hessian, Dutch and Brandenburg forces – and even the French during the War of the Spanish Succession.

Compositionally, the piece is created using two basic elements: a succession of rhythms in homophony incorporating very strong dynamics, as the work begins; and a melodic theme which, in turn, has two figures: one very cantabile and calm, while the other is far more lively, joyful and energetic. The introduction to the second of these figures in the melodic theme is used throughout the course of the work as significant thematic material, appearing for the first time at bar 11.

The composition consists of four main sections:

• Section one: from the beginning to bar 27, in which a tense atmosphere is created with the aforementioned rhythms, as well as with a dissonant harmony.
• Section two: from bar 27 to 56, where the second theme, the melodic cantabile, is presented. This is a quieter, calmer section.
• Section three: from bar 57 to 92. By using the introduction to the second melodic figure in the melodic theme, tension is progressively and increasingly created. This theme intro overlaps with the initial rhythms and the building melodic material, thus forming a great density and mass of sound.
• Section four: from bar 93 to the end. This section explores the melodic material and its two figures, taking on a different style to anything that has gone before.