• For triple orchestra and Balinese gangsa with 3 simultaneous conductors (orchestra A is a mainly western Wind and percussion ensemble of 42 players, orchestra B is a mainly Chinese ensemble of 43 players, orchestra C is a mainly western Wind and percussion ensemble of 35 players)

   

  Instrumentation
  The point of combining three orchestras simultaneously on stage is to achieve a balanced, spatialized and complex polyrhythmic texture. The part of every musician remains very simple thanks to the superimposed tempi led by three conductors. The number of required musicians has deliberately been kept low, in order to remain realistic in terms of available performing space and to encourage individual response from the wind players.
  
  Instrumentation of Orchestra A
  2 piccolo flutes, 4 flutes, 2 oboes, 2 piccolo clarinets, 6 clarinets, 1 bass clarinet, 2 bassoons, 1 soprano, 1 alto, 1 tenor and 1 baritone saxophone, 4 horns, 1 piccolo trumpet, 2 trumpets, 2 trombones, 1 bass trombone, 2 euphoniums, 1 tuba, 2 percussionist (playing chimes, suspended cymbal, 2 crash cymbals, timpani, wood block), 4 percussionists (playing Balinese gamelan gong kebyar)
  
  Instrumentation of Orchestra B
  1 player for bangdi, xindi and xiao, 1 suona, 1 soprano, 1 alto and 1 bass sheng, 2 yang qin, 2 liu qin, 3 pipa, 1 gu zheng, 4 zhong ruan, 1 (Western) guitar, percussionists (playing tam and a set of yun luo), 4 gaohu, 8 erhu, 4 zhonghu, 4 ta gehu (may be replaced by 4 Western celli) 3 di gehu (may be replaced by 3 Western double basses).
  
  Instrumentation of Orchestra C
  1 piccolo flute, 2 flutes, 1 oboe, 1 piccolo clarinet, 6 clarinets, 1 bass clarinet, 1 bassoon, 1 soprano, alto, tenor and baritone saxophone, 3 horns, 3 trumpets, 2 trombone, 1 bass trombone, 2 euphoniums, 1 tuba, 1 percussionist (playing chimes, suspended cymbal, woodblock, timpani), 4 percussionists (playing Balinese gamelan gong kebyar).
  The suspended cymbal and woodblock of Orchestra A should be higher pitched than the similar instruments played by Orchestra C.
  
  

• Duration: 25'
• In 2 movements: Triphony/ The Five Beginnings
• Composed in 2002
• Commissioned by the Centre for The Arts (National University Singapore)
• Dedicated to Father Nature (second movement)
• First performance: 05.09.02 The Philharmonic Winds, NUS Winds and NUS Chinese Orchestra University Cultural Centre Hall (Singapore)
• ISMN 979-0-9016501-2-1/ ISMN 979-0-9016501-3-8/ ISMN 979-0-9016501-4-5/ ISMN 979-0-9016501-5-2/ ISMN 979-0-9016501-6-7
• Parts: To rent the parts, please email <rc@robertcasteels.com>
• Recording: To purchase the cd, please email <rc@robertcasteels.com>
• Downloadable scores for inspection:
  SONATA_PROFANA_TRIPHONY.pdf
  SONATA_PROFANA_THE_FIVE_BEGINNING_A.zip
  SONATA_PROFANA_THE_FIVE_BEGINNINGS_C.zip
  SONATA_PROFANATHE_FIVE_BEGINNINGS_B.pdf

Dreams create extraordinary associations and amalgamations. In the first movement entitled Triphony each orchestra tells a story by Ravel, one by Debussy and one by Bartók. The unfolding discourse comes and goes as oneiric cycles do. In the end Triphony gently implodes by evaporation. The second movement draws its title from the last verse of the poem Renovation by Singaporean poet Edwin Thumboo. Commissioned by the Centre for The Arts (National University Singapore), the first performance of this vast piece for triple orchestra and Balinese gangsa led by 3 conductors simultaneously took place in 2002 in the University Cultural Centre Hall.