IN THE LAST ROLE/BALLET SUITE II
3 (3= Picc). 3 (3= En. H.).3(3= B.Cl.). 3(3= Cbsson). / 4. 3. 3. 1. / 3 Perc. Timp. Kbd. / strings
Student work, premiered on JUN 7 1965 at the Zagreb Music Academy , conducted by Pavle Dešpalj. later adapted to Ballet Suite II. Bqllet scenario by composer himself, premiered on DEC 13 1965 in Zagreb National Theater Ballet, choreographers: Nevenka Biđin, Sonja Kastl, conductor: Pavle Dešpalj; Revised.
The basic aesthetic premise of this compositional period was reflected in the resolute rejection of musical narration as a procedure in the construction of sound, my main concern being the search for objectified expression. Today when I a look at my "early works", I see elements of later development on different levels, authentic procedures that will later become very relevant under various names such as “new simplicity” or “minimal-art”. I was also influenced by the colorful orchestration techniques of Bartok and Stravinsky.The plot is based on the story of an actor split between the play and the truth. It’s a psychological drama, but with elements of a thriller…
The musical score of the symphony orchestra is divided in musical numbers which are based on the author's aspiration to objectify the narration.
This ballet music also served to design an independent ballet suite.