The program of the Oranjewoud Festival opens with a spectacular world premiere of ‘Future Perfect’, a site-specific work for symphony orchestra by American-Dutch composer Vanessa Lann. The piece is inspired by the melodies and the instrumentation of Schubert’s eighth symphony, “The Unfinished”. In fact, the whole work is intended to answer the question, “What would Schubert sound like if he wrote his music in 2018, rather than 1822?”…
In the middle of Future Perfect one can hear fragments of the second movement of Schubert’s Eighth breaking through in the strings, bassoons and horns, while the trumpets and trombones – placed on the left and right sides of the audience – introduce recognizable melodies from other Schubert passages. Only after the first and second movements have been played does the insistent, raw, rock-and-roll repetition of motives in the first and third movements make sense to the listener. Just like in the verb tense “future perfect”, one completed action must occur before another is begun. You understand the beginning only after experiencing the middle.
Future Perfect is written to be premiered in the beautiful natural surroundings of the Oranjewoud woods, above the Prinsenwijk body of water on the Oranjewoud Estate. With the spatial set-up, the groovy repeated rhythms, and the brass and celesta mingling with the sounds of nature, it should be a spectacular and also fun way to celebrate what is sure to be a creative, exciting and surprising festival.
Another work by Vanessa Lann – ‘Rise’ written for two bassoon and amateur-orchestra will be performed on June 2-3 by Martine Reurings, Dick Hanemaayer and Airchestra with conductor Johan Olaf.