In the Chamber Symphony the composer moves freely between Expressionism, post-Romanticism, contemporary cluster textures and Viennese Classicism. The composer creates compositoric unity within the composition, despite the wide scope of material used, by creating strong motivic connections between the contrasting musical styles. The point of departure for her work is the opening theme of Mozart's Piano Concerto in C-Minor K. 491. This theme, which exposes the demonic, dark and stormy aspects of Mozart's music, serves as the compositoric material for the entire symphony. Small motivic cells from the theme have been harmonized and orchestrated according to the ongoing changes in character and style that occur during the process of musical development.
The beginning of the work is dark and gloomy. Small motivic cells from the Mozart theme can be heard on the low register of the ensemble surrounded by post-Romantic harmony. After additional extensions of the thematic ideas – now in Expressionist style reminiscent of Schoenberg – the original Mozart subject is quoted. And then, all of a sudden, the stormy atmosphere changes and we find ourselves in a slow, lyrical movement in a tonal classical style. Although this section is built entirely on material from the theme by Mozart, it includes no direct quotations and the section contains only original music by Galinne.
The celestial calmness is suddenly interrupted by an extremely violent cluster texture, and we now find ourselves back in Modernist style. The cluster music gradually becomes calmer but then returns. Each time the cluster returns it becomes softer and weaker, until at the end, the music dies away, unresolved but peaceful.
Chamber Symphony was premiered by the Israel Contemporary Players on the 14th and 15th of January, 2006 in Tel Aviv and Jerusalem, conducted by Nicholas Carthy
