In the spring of 1988, shortly after the first series of Nixon in China performances in the US and Europe, I began thinking about a new work for orchestra. Working in the almost too beautiful confines of the American Academy in Rome, I found that ideas were slow arrive. When they did make an appearance I was surprised to see that they were in much the same vein as the Nixon music.
Apparently I had more to say in that particular style, although this time it would be purely instrumental music, and the sound would be largely dictated by the Nixon orchestra, a kind of mutated big band, heavy on brass, winds, synthesizer and saxophones. To this ensemble I added for Fearful Symmetries a keyboard sampler playing sampled percussion sounds, two horns and a bassoon. Otherwise the ensemble is identical to that called for in the opera.
In the spring of 1988, shortly after the first series of Nixon in China performances in the US and Europe, I began thinking about a new work for orchestra. Working in the almost too beautiful confines of the American Academy in Rome, I found that ideas were slow arrive. When they did make an appearance I was surprised to see that they were in much the same vein as the Nixon music.
(John Adams)
RebornBosc 6 months ago
Apparently I had more to say in that particular style, although this time it would be purely instrumental music, and the sound would be largely dictated by the Nixon orchestra, a kind of mutated big band, heavy on brass, winds, synthesizer and saxophones. To this ensemble I added for Fearful Symmetries a keyboard sampler playing sampled percussion sounds, two horns and a bassoon. Otherwise the ensemble is identical to that called for in the opera.
(John Adams)
RebornBosc 6 months ago