Jacob de Haan: Adornia Fanfare
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Adornia is a fantasy word derived from the English verb to adorn. Adornia is therefore primarily a composition to celebrate the centenary of the CMV Juliana from Doornspijk. But it is also about the village of Doornspijk itself and its surroundings. It is no coincidence that the letters D-O-R-N from the title are repeated in the place name. Because Doornspijk has traditionally been a very religious community, this work contains a chorale theme, which is heard from a new perspective each time. The sacred is thus alternated with the secular, in which both elements do not contrast but complement each other. The chosen German chorale melody, originally by Johann Crüger, is called Schmücke dich, du liebe Seele ('Adorn yourself festively, o dear soul' – another reference to the title).
The introduction refers to the second line of the chorale: Leave behind the dark pool of sins. The work begins in a minor key, in which a driven, majestic rhythm alternates with soft chorale sounds. This is followed by a faster, more agile cadence, also mainly in a minor key. The rhythmic impulse symbolizes the heavy agricultural labor performed in earlier times, but it also expresses the soul of the farm laborer, who, despite poverty, is 'adorned' with optimism. This is conveyed through the use of embellishments (trills and triplets).
The subsequent pastoral reflects the village and its beautiful surroundings. The almost Rheingold-like music now sounds in a major key. There is a brief excursion into a minor key, where the impoverished farm life briefly echoes from the past. But then the chorale melody, introduced by the sharp brass, sets the stage for an even more exuberant rendition of the pastoral theme. The village and the surrounding landscape are celebrated with sounds reminiscent of hunting calls.
Then the chorale melody is heard softly and sustained in fragments, interspersed with ornamental lines in the saxophones and bells heralding Sunday. The strict rhythmic cadence then returns. However, changes are audible: mechanization has arrived. Yet, suddenly, we hear a horse and cart pass by as the traditional farmers' market is held in the village. The new dynamic builds to a climax and culminates in the chorale, this time in a sustained march, with an elegant upper voice from flugelhorns and soprano saxophone. Here, the continuation of the chorale text is expressed: 'Come to the bright light and radiate it'. Adornia ends festively with the same motif with which it began, but now in a major key. The fanfare once again makes a good impression!
The introduction refers to the second line of the chorale: Leave behind the dark pool of sins. The work begins in a minor key, in which a driven, majestic rhythm alternates with soft chorale sounds. This is followed by a faster, more agile cadence, also mainly in a minor key. The rhythmic impulse symbolizes the heavy agricultural labor performed in earlier times, but it also expresses the soul of the farm laborer, who, despite poverty, is 'adorned' with optimism. This is conveyed through the use of embellishments (trills and triplets).
The subsequent pastoral reflects the village and its beautiful surroundings. The almost Rheingold-like music now sounds in a major key. There is a brief excursion into a minor key, where the impoverished farm life briefly echoes from the past. But then the chorale melody, introduced by the sharp brass, sets the stage for an even more exuberant rendition of the pastoral theme. The village and the surrounding landscape are celebrated with sounds reminiscent of hunting calls.
Then the chorale melody is heard softly and sustained in fragments, interspersed with ornamental lines in the saxophones and bells heralding Sunday. The strict rhythmic cadence then returns. However, changes are audible: mechanization has arrived. Yet, suddenly, we hear a horse and cart pass by as the traditional farmers' market is held in the village. The new dynamic builds to a climax and culminates in the chorale, this time in a sustained march, with an elegant upper voice from flugelhorns and soprano saxophone. Here, the continuation of the chorale text is expressed: 'Come to the bright light and radiate it'. Adornia ends festively with the same motif with which it began, but now in a major key. The fanfare once again makes a good impression!
| Merk | De Haske Publications |
|---|---|
| Serie | Top 25 Fanfare |
| Instrument | Fanfare |
