Kevin Houben: Resurrection: Orchestre d'Harmonie

“Man wird mit Keulen zu Boden geschlagen und dann auf Engelsfittichen zu den höchsten Höhen gehoben.” (Mahler over zijn 2de symfonie “Wederopstanding”, Juli 1894) *“You are clubbed to the ground and then lifted to the highest heights on angels' wings” Commissioned by and dedicated to Concertband Maasmechelen (BE), conducted by Mark Prils. Kevin Houben was inspired for this work by Gustav Mahler's 2nd symphony, better known as the Resurrection symphony. The work can be regarded as a Ma(h)lerei of various compositional and spherical elements that refer to the Austrian composer but that appear in this composition in an embedded, contemporary way. As Mahler often drew his inspiration from nature, the opening of this piece brings nature right to the audience. The work starts with a solo for alto flute accompanied by a pedal note in four octaves with harmonic responses echoing the solo. From the start, Kevin Houben provides Mahler’s material with a contemporary touch. He replaces the nature sounds that Mahler uses (perfect fourth) with tritone intervals. The off stage trumpet signals have been preserved but are provided with a new accompaniment. Gradually, throughout the work, the orchestra undergoes its own independent development. Mahler's musical signature remains recognizable, but Kevin Houben allows it - e.g. through the use of various timbres - to flourish in a more modern musical idiom, which characterizes numerous contemporary compositions for wind band (cfr. Where Angels Fly). The work comes to a grandiose end with a passage of the famous chorale from Mahler's 2nd symphony. The rich orchestration of this chorale gives the listener the illusion of the presence of a choir and organ without actually using them. In Resurrection, each instrument group comes into its own: in solo fragments, in transparent thematic passages or in splendid tuttis. Therefore, the work forms an interesting challenge for a wind band on several levels, both technically and melodically – the latter due to the long suspenseful melodic phrases that the musical structure requires. The piece is accessible to a wide audience and can be regarded as an enrichment for any concert programme. Resurrection takes the audience through various atmospheres and experiences: from stunning to chilling, from calming to delighting… „Die Musik muss immer ein Sehnen enthalten, ein Sehnen über die Dinge dieser Welt hinaus.“ (Gustav Mahler, 1860-1911) “Music must always involve a longing, a yearning beyond the things of this world.”