Passchendaele – a Meditation was inspired by an iconic photograph of Australian gunners on a duckboard track in Château Wood near Hooge taken by Frank…
Passchendaele – a Meditation was inspired by an iconic photograph of Australian gunners on a duckboard track in Château Wood near Hooge taken by Frank Hurley on 29 October 1917.
Originally for two double basses and string quartet, Passchendaele – a Meditation is simple and slow moving, contrasting strong and powerful emotions from the two soloists. There are opportunities to display the lyrical and sonorous qualities of the viola and double bass, whether as a duet or in the two solo soliloquies, which eventually die away into nothingness. There is a constant dialogue between the instruments, almost like snatches of conversations between two soldiers and opportunities to create and explore a wealth of colours and timbres. The accompaniment is simple and supportive, using a darkly hued palette of colours, which contrast the lyricism and drama of the two soloists.
The Battle of Passchendaele, also known as the Third Battle of Ypres, was a campaign of the First World War, fought by the Allies against the German Empire. The battle took place on the Western Front, from July to November 1917, for control of the ridges south and east of the Belgian city of Ypres in West Flanders, as part of a strategy decided by the Allies at conferences in November 1916 and May 1917 Now spelt Passendale, this small village five miles north-east of Ypres is the name by which the final stages of the Third Battle of Ypres is known. It is the name, along with the Somme, which has come to symbolise the Great War for many.
This edition is for double bass in orchestral tuning and a version in solo tuning is available directly from the publisher (doublebass@tiscali.co.uk / solodoublebass@gmail.com)
“Passchendaele is a wonderful piece…” (Marco Antonio Quiñones Martinez, Mexico)
“What a privilege to share the stage with you both. It was a thoroughly enjoyable evening. I have rarely seen an audience, adults and young children alike, so visibly moved as during Passchendaele – a Meditation. Extraordinary stuff.” [Ruth O’Shea, violinist]
“Passchendaele was extraordinary both as a piece and as a performance by you both. I haven’t heard something as wonderful as that for some time.” [Luke, member of the audience]
Cover photograph: Joyce Edith Poole
