Masquerade is inspired by the painting Christ’s Entry into Brussels in 1889, by Belgian artist James Ensor. I have set this culmination of fanfares, funfairs, and parading masks to an overture-like composition. It opens with ominous percussion and develops further into waltzing clarinets, referring to Ensor playing the harmonium in front of the painting in his workshop. Except for the waltz the work features marches and motives that function like characters from the painting. These characters blend together in a fast-paced closing ‘chase’ that finds a climax in chords that push to the forefront, like the grotesque figures in the painting. The work burrows into the theme of alto ego, ‘the other I’, where the mundane persona takes on a sensational disguise. The captivating idea of society being one mass doppelgänger, where the true self is often more grotesque than the mask, is inspired by James Ensor’s painting, Christ’s Entry into Brussels in 1889. The music begins with a milieu of carnivals and parading masks symbolised by ominous percussion and later, waltzing clarinets. Except for the waltz, this work features marches and motives that culminate into a frenzy of a fast-paced closing ‘chase’ that climaxes in chords pushing to the foreground, like the grotesque figures in the painting.
The work was the first commission by the Vancouver Symphony Orchestra in the capacity as Composer-in-Residence. The VSO played the premiere on December 3 and 5, 2011.
REVIEWS
“Based on the enigmatic, disquieting painting Christ’s Entry into Brussels by James Ensor, Top’s concise work for large orchestra is a layered and complex gem. Full of imaginative textures and colours, it makes a serious point. Top has made an impressive debut with the orchestra; listeners can look forward to new discoveries during his tenure.”
David Gordon Duke, Vancouver Sun, 4 December 2011
“Masquerade lived up to its name, being just as phantasmagorical and grotesque as the work it’s based on, and just as funny.” Lloyd Dykk, Georgia Straight Vancouver, 5 December 2011
INTERVIEW
VAMSO (Vancouver Academy of Music Symphony Orchestra) performs “Masquerade” by Edward Top
Posted February 17, 2014 by Marcus Takizawa
Edward Top is very excited that his work “Masquerade” has another chance to play in Vancouver.
“This was my first piece that I wrote for the VSO back in 2011,” he said. “And before that, I wrote even more complex music. So I thought, OK, this is my first composition for the orchestra so I better write something that is not too edgy and too challenging”.
While this work may not be as complex and technically difficult as Edward’s previous works, it is certainly a great challenge for a student orchestra such as VAMSO.
“Masquerade” is inspired by the painting “Christ’s Entry into Brussels in 1889”, by Belgian artist James Ensor. The painting is a massive work, over 6 feet high and 26 feet long. “It is huge. It’s almost like you are becoming part of it because the characters at the bottom of the painting are larger and are almost like they are coming towards you,” said Edward. “I knew of James Ensor for a long time and I always thought about that kind of crazy, nightmarish painting, with people almost in caricature with masks; it’s something I’ve always been fascinated with. When I saw this painting, I thought it was great. I should do this.”
Although the music definitely has a strong connection to the painting, the work also stands on its own. “It’s quite a narrative piece. It has a lot of elements that are from the painting so I think it would make more sense if people saw it,” he said. “Especially the ending, like the fast bit, then the piece has its own life.”
In the three years since he wrote “Masquerade”, Edward Top has been very active in Vancouver’s cultural scene. He continues to be the composer in residence for the VSO, and is also the Head of Composition at VAM. It’s even possible that the move away from Europe may be influencing his musical sensibilities. “I’m now writing in a more accessible form, maybe just a phase, but writing music that is more playable,” he said. “Here in Vancouver it’s much more open, and it doesn’t matter what style you’re writing because there is less pressure from a longer tradition. I find that really pleasant. Vancouver is very rich musically, I think. It’s like people don’t really know it yet because it almost feels like it’s in a growing process. There are so many composers and ensembles. I think it’s wonderful”.
VAMSO, under the direction of Les Dala, will be performing Edward Top’s “Masquerade” on Sunday, February 23rd, 2pm at the Orpheum Theatre.
The original interview can be found here
NEDERLANDS
Masquerade is gebaseerd op het schilderij De binnenkomst van Christus in Brussel in 1889 van de Belgische kunstenaar James Ensor. Ik heb deze processie van fanfares, kermismuziek, en maskers samengebracht in een ouverture-achtige compositie. Een belangrijk thema in Masquerade is het alterego, de andere ‘ik’, waar de dagelijkse persoon zich een sensationele vermomming aanmeet. Net als in Ensor’s schilderij gaat het om het fascinerende idee van de samenleving als massale dubbelganger, waar de ware identiteit vaak grotesker is dan het masker. Masquerade begint met onheilspellende trommelaars om vervolgens uit te komen in walsende klarinetjes die verwijzen naar het door Ensor bespeelde harmonium dat onder het schilderij in zijn werkkamer stond. Behalve deze wals komen ook marsen langs in de compositie en motieven die fungeren als personages uit het schilderij. Deze personages smelten samen met een jachtige finale die z’n climax vindt in akkoorden die zich naar de voorgrond dringen, net zoals de groteske figuren in het schilderij.