“…to beam in distant heavens…” – Violin Concerto

by Georges Lentz
Stage 5 & 6 Teaching Resource
Sydney Symphony Orchestra

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Acknowledgements
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The Sydney Symphony Orchestra would like to express its gratitude to the following for their generous support of
the Learning & Engagement program and the production of this resource kit:
Simone Young Chief Conductor and Artistic Director, Sydney Symphony Orchestra
Craig Whitehead Chief Executive Officer, Sydney Symphony Orchestra

Resource Development
Writer: Jim Coyle
Editor: Sonia de Freitas
Production: Daniella Pasquill, Jann Hing
Design: Amy Zhou

Contact
For information concerning the Sydney Symphony Orchestra’s Learning & Engagement program, contact:
Email: [email protected]
Online: www.sydneysymphony.com

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“Your life can be changed and enriched through all sorts of
music; music from now, music from the past, music from the
very distant past and music from as recently as yesterday.

Through intensive listening students become involved in one

of the highest orders of thinking.

As a teacher, by bringing students to a concert and studying

music in the classroom, you are providing your students with
a special pathway to musical knowledge through direct
experience of and contact with live music.”
Richard Gill AO
(1941 – 2018)

Conductor, notable educator and advocate. Richard was the founding Artistic Director of Education at
Sydney Symphony. He has inspired generations of musicians through his work and continues to inspire new
generations through his legacy.

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Syllabus link

NSW Curriculum
“… to beam in distant heavens…” – violin concerto by Georges Lentz covers a range of topics from the
NSW syllabuses:

Years 7 - 10 Elective:
An Instrument and Its Repertoire
Art Music of the 20th and 21st Centuries
Music for Large Ensembles

Music 1 Preliminary and HSC:

Music for large ensembles
An Instrument and Its Repertoire
Music of the 20th and 21st centuries

Music 2 Preliminary:
Australian music

Music 2 HSC:
Mandatory Topic: Music of the Past 25 years (Australian focus)

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Work: “… to beam in distant heavens…” – violin concerto by
Georges Lentz

Composer background
Through high profile international performances and CD releases, Georges Lentz has established himself in
recent years as one of Australia's leading composers - this despite the fact that he is far from being a prolific
writer. Being given to self-doubt, he rarely publishes new compositions, rarely accepts commissions, and
tends to work on each of his pieces over a number of years, often working on several at the same time.
Born in Luxembourg in 1965, Georges Lentz studied music at the Luxembourg Conservatoire, the Paris
Conservatoire National Supérieur de Musique (1982-1986) and the Hannover Musikhochschule (1986-
1990). Since 1989, he has been working on a cycle of works called "Caeli enarrant..." ('The Heavens are
telling...' - Psalm XIX). His music is concerned with astronomy, a love of the Australian landscape and
Aboriginal art, and reflects the composer's spiritual beliefs, questions and doubts. He has been living in
Australia since 1990.

Georges Lentz' compositions have been widely played in Europe, the USA, Canada, Australia, New
Zealand, Japan and China. Many renowned ensembles have performed his works, among them: Deutsches
Symphonie-Orchester Berlin, Gürzenich-Orchester Köln (Cologne Philharmonic), Düsseldorfer Symphoniker,
Bochumer Symphoniker, Netherlands Radio Philharmonic Orchestra, BBC Symphony Orchestra London,
BBC National Orchestra of Wales, Hallé Orchestra Manchester, ORF Symphony Orchestra Vienna,
Orchestre Philharmonique du Luxembourg, Orchestra of the Sibelius Academy Helsinki, St Louis Symphony
Orchestra, Sydney Symphony Orchestra, Melbourne Symphony Orchestra, Tokyo Metropolitan Symphony
Orchestra, New Japan Philharmonic, Nieuw Sinfonietta Amsterdam, Prague Chamber Orchestra, Australian
Chamber Orchestra, Ensemble Continuum New York, Ensemble Oriol Berlin, Ensemble 24 Sydney,
Australian String Quartet, Vilnius String Quartet, Indiana University New Music Ensemble, Cleveland New
Music Ensemble... His music has been played at important international festivals and in many of the world's
great concert halls, including the Philharmonie Berlin, Konzerthaus Vienna, Musikverein Vienna,
Concertgebouw Amsterdam, Wigmore Hall London, Rudolfinum Prague, Carnegie Hall New York, Kennedy
Center Washington, Suntory Hall Tokyo, Sydney Opera House...

In 1997 Georges Lentz won the Paul Lowin Prize for orchestral composition, the most prestigious
composition prize in Australia. His orchestral work 'Guyuhmgan' was the top recommended work at the 2002
UNESCO International Rostrum of Composers in Paris. His latest compositions include 'Monh' (2001-2005)
for solo viola and orchestra, (written for German soloist Tabea Zimmermann, and co-commissioned by the
BBC, the Echternach Music Festival and the Sydney Symphony Orchestra), as well as 'Ingwe' (2003-2009),
a 60 minute work for solo electric guitar (written for young Australian guitatist Zane Banks). In 2009, Monh
won the APRA award for best composition by an Australian composer. In recent years, Georges Lentz has
been more and more interested in and influenced by musical improvisation, sound art and sound sculpture,
as well as digital music. In April 2022, the Cobar Sound Chapel, a long-cherished dream, was opened in
Cobar in Outback NSW. It is a purpose-built venue, designed by architect Glenn Murcutt, to permanently
house the surround-sound four-channel projection of Lentz' vast digital composition "String Quartet(s)"
(2000-2022). He is currently working on a new violin concerto for Arabella Steinbacher, to be premiered in
2023.

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Georges Lentz' works are published by Universal Edition in Vienna.
From https://www.georgeslentz.com/shortcv.htm

Work Background
“… to beam in distant heavens…” – violin concerto by Georges Lentz
This concerto for violin and orchestra was composed between 2019 and 2022. It forms part of a continuing
series of works by Georges Lentz (collective known as caelli enarrant, which are written for a wide variety of
performing media, but nevertheless all address the composer’s central concerns. These concerns are to do
with the spiritual and the astronomical as well as Lentz’ fascination with the poetry and art of William Blake
(1757-1827) and his deep concern about the environmental damage that human activity is inflicting on the
planet. This was composed for violinist Arabella Steinbacher from Germany who will perform the premiere
performance in Sydney Opera House.

Instrumentation of work
Woodwind Brass Percussion Strings

3 Flutes 4 Horns in F Large hammer Solo violin

(2nd Doubling Alto 3 Trumpets Thundersheet 12 First violins
Flute, 3rd Doubling Glockenspiel
2 Trombones 12 Second violins
Piccolo)
Steel drum 6 Off stage violins
3 Clarinets
Tubular bells 8 Violas
Hi-Hat 6 Cellos
Cow Bells 1 6 Double basses
Crotales (with Double Electric guitar
Bass Bow)
Wine bottle
Bass drum
Cow bells 2
Thai gongs
Tom-tom
Triangle
Marimba
Piano doubling MIDI
keyboard

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Listening guide

As this is the world premiere performance by highly complex orchestral work, offering a chronological guide
to the piece would be of very limited value. Therefore, the following offers a description of some of the
musical characteristics of this work.
In terms of pitch organisation, Lentz uses a variety of highly complex techniques, as well as some more
straightforward ones. These include a dissonant sheen of very quiet sustained clusters. These are achieved
by dividing each string section into individual parts and having each player contribute a note to a cluster
cord. Some of these cover a very wide range of pitch. There are more lyrical passages which are centred
around the tonality of F sharp major. Lentz also uses dissonant and disjunct melodies on occasions, both in
the solo instrument and in the orchestra.
The organisation of duration in this concerto is heavily influenced by the mathematical idea of fractals.
Fractals are mathematical patterns which retain the same shape irrespective of the scale. In other words, the
small and the big are the same except for the size. The most famous use of fractals is in the Mandelbrot Set,
which can be seen in animated form here.
The use of fractals may also be seen to be a structural device. The ratio of four to one is particularly
significant in this work. The tempo alternates between a slow one and a quicker one which is exactly four
times as fast. Sometimes these alternations are spaced far apart, on other occasions they are very rapid.
There are passages of very precise rhythms, sometimes involving complex time signatures and
syncopations. There are also less measured and unmeasured passages, including some very long pauses
and moments of silence or near-silence.
Dynamics run the full gamut from very loud to very soft, as one would expect, and a wide variety or the
expressive techniques are used. Notably, and this is typical of Lentz’ music, expressive techniques our
employed at a very detailed level indeed. This extremely thoughtful and precise writing is the result of Lentz’
very slow and meticulous compositional process.
There is a great deal of innovation in the use of tone colour in this concerto. This occurs not so much in the
deployment of original performance techniques, but in the carefully weighted combinations of tone colours,
some of which involve extended techniques. Again, this is a result of the composer’s highly detailed and
deeply imaginative scoring. There are some unusual additions to the orchestra, including a MIDI keyboard
and electric guitar. The entire work starts with a shattering blow from a large hammer. Hammers are not
unknown in orchestral and operatic music, but to open a concerto with one is a particularly bold stroke. The
solo part requires the sort of virtuosity that one would expect in a concerto, but it's also noticeable for its
playability by an extremely good player. In other words, solo part is always idiomatically written for the violin.
The placing of instruments in space is also a noticeable feature of this work. There are six violins placed off
stage at the rear of the concert hall, in addition to the regular section in the orchestra. Furthermore, the
soloist starts by playing off stage and makes her entrance after the concerto has started.
Lentz uses a wide variety of texture in the composition of this work. There are a number of orchestral
instruments omitted, noticeably the double reed woodwinds. However, the frequent division of the tutti
strings, sometimes into many parts, can create textural thickness. There are long passages of solo music for
the violin, often with little or no accompaniment. On other occasions the texture changes constantly and
subtly. This, combined with a highly idiosyncratic use of tone colour, creates a constantly shifting and
shimmering effect.
Georges Lentz’ music can be complex and is far removed from the music of video games and film scores.
However, it is music that has the capacity to be very engaging for the young listener because the issues it
tackles issues of profound importance (particularly to the young) and, stylistically, stands apart from general

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trends in contemporary art music. This makes it all the more fascinating. Immersion in Georges Lentz’ music
pays great dividends, because there is so much there that is of importance, of truth and of beauty.

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Learning Activities
Activity 1: Score Reading/Musicology
Learning Objectives:
• To enhance knowledge and understanding of score conventions.
• To develop composing and performing techniques on the violin.
______________________________________________________________________________________

Score excerpt 1 is taken from the opening cadenza of “…to beam in distant heavens…” A cadenza is a
passage in a concerto, usually unaccompanied or sparsely accompanied, in which the soloist plays music of
a particularly virtuosic nature. A cadenza at the start of a concerto is often called an eingang. This is the
German word for ‘entrance’. In this instance, Georges Lentz takes this idea literally: the soloist starts her
eingang off the start, then walks on ‘with poise’ (as the score directs) then plays the rest of the eingang.
Score excerpt 1 is taken from a passage after she has come on stage.

Task 1
Explain the following notations that feature in Score Excerpt 1:

vivace

rubato

flautando

sul tasto

Non vib.

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Task 2

A cadenza is virtuosic and often presents great technical difficulties. However, Georges Lentz is not only a
composer of exceptional skill and techniques, he is also a professional violinist himself. There are, therefore,
no unnecessary difficulties. Look at Score Excerpt 1 again and identify the ways in which the writing suits
the techniques of the violin.

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Score Excerpt 1

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Activity 2: Composition
Learning Objectives:
• To encourage reflection about the student’s own practice as a composer.
• To stimulate compositional ideas.
______________________________________________________________________________________

Not only is “…to beam in distant heavens…” a concerto for violin, it is also a concerto about the violin. Lentz
explores the violin and ideas about the violin in a variety of ways. These include important passages for the
orchestral violins, each of whom has a unique part. It also includes having a section of six violins off stage
and by having the keyboard player use the MIDI sound which is called violin. This only bears a passing
resemblance to the sound of an actual violin, but is an interesting exploration of tone colour and of
perception of tone colour.

Consider your own instrument. Consider not only writing original music for it, but also writing original music
about it. For example, you may start by considering the cultural connotations of your instrument. How is it
portrayed in art? How does it appear in poetry? What sort of associations do most people have with your
instrument and with those who play it? Reflect carefully on how this could influence you composing a new
work. Include all these reflections in your composition process diary and your portfolio.

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Activity 3: Performance
Learning Objectives:
• To perform an arrangement of a short passage from “…to beam in distant heavens…”
• To encourage critical reflection as part of the creative process.
______________________________________________________________________________________

Perform this class arrangement of an excerpt from “…to beam in distant heavens…”
[It is strongly recommended that the keyboard part be included to gain the full effect of the harmonies]

Write a critical reflection of the musical qualities and any technical difficulties you experienced playing this
arrangement. Do these reflections cause you to consider your own practice as a performer or as a
composer?

Take it in turns to improvise an additional part while the rest of your class performs this arrangement. Record
your improvisations then discuss each one as a group.

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Activity 4: Composition
Learning Objectives:
• To encourage reflection about the student’s own practice as a composer.
• To stimulate compositional ideas.
• To improve the student’s compositional process.
______________________________________________________________________________________

Score Excerpt 2 is taken from a passage towards the end of “…to beam in distant heavens…”

Task 1
An unusual instrument included in “…to beam in distant heavens…” is a MIDI keyboard playing the violin
sound. Most people find this sound rather strange (possibly even psychedelic), because of its thin and very
artificial sound. This is, however, nothing more than a matter of opinion.

Consider other instruments or sound sources that you or your friends find very odd, weird, even disturbing or
alien. How could you exploit this tone colour in a composition? Remember, music doesn't always have to be
pleasant. The purpose of all art is to reflect our experiences as human beings and not everything that
happens to us is nice.

Task 2
Among the more original sound sources in “…to beam in distant heavens…” are a large hammer and a wine
bottle. Furthermore, Lentz sometimes instructs his percussionists to play their instruments in unusual ways,
including the bass drum being played with a broom.

These may be considered to be found sounds (to a certain extent). Compose a piece of music using only
found objects as sound sources. For example, you could use the contents of your pencil case in various
ways to create a variety of timbres, which could be incorporated into an original composition.

Task 3
“…to beam in distant heavens…” has a score which is entirely handwritten. Lentz took three years to
compose this concerto, which considering the level of detail in the score is unsurprising. There is a growing
body of opinion the composer should never begin a piece by using notation software. Start your next
composition with paper and a pencil. Sketch your ideas, draw a map or a plan. You do not have to start by
notating on the staff; you could use words, diagrams or pictures. The critical thing is to move away from the
computer and to think, then to sketch your ideas.

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Activity 5: Score Reading/Musicology
Learning Objectives:
• To enhance knowledge and understanding of score conventions, including extended techniques
and their notation.
• To analyse musical texture and colour in detail from a score.
______________________________________________________________________________________

Score Excerpt 2 is taken from a passage towards the end of “…to beam in distant heavens…”

Task 1
Explain the following notations that feature in Score Excerpt 2:

Staccatissimo sempre

Arco IV

Col legno battuto

Task 2
This passage contains 3 elements of musical texture:
• A solo passage in the foreground
• A rhythmic accompaniment
• Sustained notes
Describe in detail the musical characteristics of each of these elements and any innovative ideas in them.

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Score Excerpt 2

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Suggested Answers

Activity 1

Task 1

vivace Lively

rubato With some flexibility in tempo

flautando Flute-like tone colour

Play with the bow nearer the fingerboard

sul tasto than usual

Non vib. Play without vibrato

Left hand pizzicato. The bow continues to

play the F, whilst the fourth finger on the
left hand plucks the open E string.

Fingered tremolo – rapid alternation of two

notes in the same bow stroke.

Quarter tones – F quarter sharp and B

quarter flat.

Natural harmonic on the fourth string. The

finger touches the G string lightly at a
certain point and the resulting pitch is two
octaves higher than the open string. The
tone colour is somewhat pale and glassy.
If you have no bowed instruments
available, you can experiment with natural
harmonic on classroom guitars – touch the
string lightly on the 5th or 7th or 12th fret.

Task 2
Answers may include:
• The semiquaver passages are across all four strings. Therefore, the violinist needs to place her left
hand in the correct position (as if holding down a guitar chord) then move the bow up then down.

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Although the left hand positions are not easy (and intonation in these very high pitches is always
problematic) the notes’ fall under the fingers’.
• The left hand pizz is played while the left hand is holding a low F on the D string. Therefore, the fifth
finger is positioned to play the pizzicato easily.
• The ‘espres. vib.’ Passage is on the fourth string, which has a natural richness of tone colour and is
very well suited to writing such as this.
• The quarter tones are between adjacent semitone and in fifths, this means this passage can be
played easily by a small movement of the left hand.
• The point at which the G string is touched (node) for the natural harmonic is close to the grace
notes that are played immediately prior to it.

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Activity 5
Task 1
Explain the following notations.

Staccatissimo sempre Always very short and detached

Bow on the 4th string (ordinarily a
passage in this register would be played
Arco IV
on the 1st string)
Play with the wood of the bow in a
Col legno battuto percussive style

Hi hat open the closed (pedal action)

Left hand plucks the two open strings

Tuplet – two semiquavers in the time that

would normally be occupied by three.
Like a triplet in reverse.

Task 2
This passage contains 3 elements of musical texture:
• A solo passage in the foreground
• A rhythmic accompaniment
• Sustained notes
Describe in detail the musical characteristics of each of these elements and any innovative ideas in them.

A solo passage in the foreground:

Solo violin plays more sustained notes in a moderately high register. These are played very high on the 4th
string, creating an unusual tone colour. The MIDI synthesiser contributes to this element in a dissonant way.
Not only is its tone colour thin and plasticky, but it is also playing in microtones giving the impression of out
of tune playing.

A rhythmic accompaniment:
The hi-hat and bass drum play most of the time and conform quite closely to the shape of the irregular bar
lengths. The low strings play series of longer and shorter repeated tuplets. These passages start very loudly
and immediately become quieter. These are played by striking the strings with the wood of the bow and, in

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the case of the violas and cellos, are a double stop involving an open string.

Sustained notes:
The flutes, clarinets and 1st trombone play the same notes in different octaves. The second trombone is a
fifth lower and its dynamic is marked a little louder to balance the seven other instruments. The flutes are in
their very lowest register, which is a rather veiled and mysterious sound. The idea of having all three
clarinets played two octaves higher than the flute is an extremely unusual one. Clarinets are capable of
extreme quiet playing, known as echo tone, and in this case this supports the upper harmonics of the flute
tone. The carefully weighed and differing dynamics support this highly innovative use of timbral
combinations.

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Glossary
Musical term Definition

a2 Two instruments play the given pitch.

Accompaniment The part of the music that is not the main theme or tune, but the musical support.

Da capo From the beginning.

Dissonant The term describing the sound when notes played simultaneously do not blend
together but clash.

Duration Referring to the rhythmic aspects of music, length of sounds or silence.

Dynamics and Volume and choice of how the sound is made.

expression

Expressive techniques Ways of playing or articulating a sound often related to the interpretation of a style.

Extended Techniques When a player is required to play their instrument in an untraditional manner, such
as blowing into a trumpet without the mouthpiece or tapping the belly of a stringed
instrument.

Forte (f) Loud

Fortepiano (fp) To commence a note loudly and becoming very soft immediately after.

Graphic Notation A method of indicating pitch, rhythm and dynamics using symbols instead of
traditional musical notation.

Legato Smoothly

Melody Tune

Metre The way that the beats are grouped in a piece of music, i.e. the number of beats in
a bar

Orchestra A group of mixed instruments comprising woodwind, brass, percussion and stringed
instruments and usually directed by a conductor.

Ostinato A repeating pattern – may be rhythm only or rhythm and pitch.

Pentatonic Scale A scale consisting of five notes only – the most common being the 1st, 2nd 3rd, 5th,
and 6th notes of the scale.

Piano (p) A dynamic marking meaning soft.

Pitch The relative highness of lowness of sounds. Discussion of pitch includes the
melody and direction of pitch movement and the harmony (different parts).

Pizzicato A technique used by string players where the sound is made by plucking the string
rather than bowing it.

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Program music Music that is inspired by a story, character, place or atmosphere i.e.it is inspired by
a non musical program.

Sequence A pattern that repeats at a higher or lower pitch.

Sforzando piano (sfp) To accent the start of the note loudly, then become suddenly soft.

Soundscape Compositions of organised sounds that describe a scene of a place.

Staccato Playing a note so that it sounds short and detached.

Structure (form) The plan underlying the construction or the design of a piece of music. Structure
relates to the ways in which sections of music sound similar or different.

Texture The layers of sound in a piece of music.

Timbre/Tone Colour The particular features of a sound, which distinguish one sound (instrument or
singer) from another.

Tuned and Untuned Tuned percussion refers to percussion instruments, which play specific pitches
percussion such as xylophones. Untuned percussion instruments include shakers, triangles
and other instruments with no definable pitch.

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