condition (record/cover): NM / EX

Pivotal moments in the composer's transition from avant-garde serialism toward his own "Tone Clock" theory, which sought to reclaim harmonic lyricism. Symphony No. 1 (1978): Recorded by the Concertgebouw Orchestra under Colin Davis, this work is often reviewed as a manifesto for Schat's new harmonic direction. It moves away from the ferociously objective treatment of serialism toward a more lapidary and beautiful harmony. While it retains modern tension, it builds structures that feel more intuitive and irrational rather than strictly mathematical. It is characterized by a motoric insistence that can feel harsh or fascinating depending on the listener's mood, lacking the familiar diatonic anchors of minimalism. Septet (1957): This earlier work showcases Schat during his more experimental phase. It is a display of virtuosity and high energy. Unlike the later Symphony, the Septet leans into the exuberant and extroverted side of modernism and it remains a staple of Dutch chamber music history, often cited for its character and lyricism despite its complex technical demands.