Symphony nr 6
Enlarged wind orchestra (flutes 1 and 2, piccolo 1 and 2, alto flute, 2 oboes, 1 cor anglais, 1 piccolo clarinet, 15 clarinets [3 individual parts and 15 individual parts in one section], 1 alto clarinet, 1 bass clarinet, 1 contrabass clarinet, 2 bassoons, 1 contrabassoon, 1 sop sax, 2 alto sax [individual parts], 1 tenor sax, 1 baritone sax, 1 bass sax, 1 piccolo trumpet, 5 trumpets, 5 horns, 3 euphoniums, 4 tenor trombones, 1 bass trombone, 3 tubas [individual parts], timpani + crotales + temple blocks + roto-toms + thimbles and flexatone, 5 percussionists [glockenspiel + tam + tenor drum/ xylophone + chimes + bass drum + snare drum + piccolo triangle/ vibraphone + crystal glass + suspended and crash cymbals/ marimba + tambourine + triangle + metal bowl + slapstick/ suspended and crash cymbals + egg shakers + snare drum], 1 electric guitar, 1 harp, 1 piano, 1 keyboard, 1 organ, 1 violin, 1 viola, 1 cello and 3 basses)
Programme notes
Symphony No. 6, Op. 138, is scored for a large wind orchestra augmented by an ensemble of plucked and bowed strings, as well as keyboard, piano, and organ. The prominent inclusion of the pipe organ—a constant feature in Casteels's first, second, and sixth symphonies—reflects the composer’s enduring affinity for the "emperor of the instruments," stemming from his adolescence playing the baroque organ of Saint-Denis Church in Brussels. The compositional process for the Sixth Symphony spanned the entirety of 2023. Notably, the various sections were not composed in their final chronological order. The underlying compositional language is distinctly modal, culminating in a D-flat major climax that is entirely devoid of any conventional tonal relationship. Early experimentation with Artificial Intelligence (AI) for composition was ultimately abandoned due to disappointing sonic results. The symphony is structured in four cyclic movements, meaning all fundamental melodies and harmonic materials appear, in some permutation, across all four movements. The work covers the broad emotional spectrum of the four temperaments:
I. Tristitia (Sadness): This movement expresses profound loneliness and utter despair. The texture occasionally dissolves into nocturnal, mysterious effects punctuated by a sudden scream.
II. Gaudium (Joy): A contrasting and extroverted movement that overflows with indomitable energy and optimism. The climax recedes terrace-wise (dynamically stepwise) before leading directly into the third movement.
III. Serenitatis (Equilibrium): A peaceful chorale that offers a meditative contrast. The composer wrote three distinct endings for the work at this juncture, ultimately opting for a light ending.
IV. Ironia (Humour): The final short movement, featuring a humoristic twist, concludes the emotional journey on a note of playful irony.
The percussion section plays a particularly prominent and virtuosic role, highlighted by five spectacular unconducted cadenzas.
Handwritten sketches and drafts
to be found in chapter XXXIX of the white cover, A3 size, 600 pages sketchbook and page 1 of the red cover logbook #6
Completion of the composition
31-XII-2023
Analysis
see The Vault (2025) under Articles
Recording
link is the video of the premiere
Flemish and Singaporean house façades by designer Jerry Tan [reproduced with permission from the artist]
Duration:
50'
Composed In:
2023
Dedicated to:
Parts:
For score and parts, please email <rc@robertcasteels.com>
First performance:
24.03.24 Concert Hall, Esplanade Theatres on the Bay, Singapore
First performed by:
The Philharmonic Wind Orchestra conducted by R Casteels
Commissioned by:
979-0-9025002-5-8 (full score) and 979-0-9025002-6-5 (parts)
Download Link: