Composed in 2013. Performed by the University of Northern Colorado Wind Ensemble in September 2014 under the direction of Dr. Kenneth Singleton.

Awakening

The title of this piece is actually not a real word, it is one that I made up myself. It is comprised of the Greek roots “dendro” and “phon,” or “phonos.” Dendro means that which is related to trees, and as many people know, phon means sound. So literally, the title means “tree-sound.” This work is basically an expression of, in my perception, what it means to be a tree, specifically their lives throughout the seasons. In the beginning, we slowly hear them wake from winter dormancy, then flourish the in spring and summer months, and finally fall back to sleep in the end. I have always loved trees. When I was young, I didn’t know what I loved about them, I simply enjoyed being around them, even hugging them from time to time. Sometimes when I was angry, my parents told me to “be a tree,” and reflect the deep peace they seem to thrive in. As I got older, I came to understand them much more. They are constantly in a state of meditation, exemplifying the virtues of peacefulness, relaxation, and patience. Their roots plunge deeply into a bed of stillness, always being grounded in that while still being in the external world. Outwardly, they express the space that they thrive in. Deciduous trees have vibrant leaves that shimmer in the wind, demonstrating an inner joy and happiness to exist and live their role in the ecosystem. On the other hand, coniferous trees have a much more subdued appearance, indicating the great strength they must have to survive in the winter months, and subsequently a profound depth of wisdom from living through so many trials and tribulations. Since many of the trees around UNC are deciduous, the piece is mostly from that perspective.

Dendrophony

This is one of my first pieces since attending UNC. In its first incarnation, it was a quartet for flute, clarinet, horn, and bassoon. However, I realized that the piece was rather difficult to play due to the nearly constant activity in all the parts. I decided to re-orchestrate it for essentially a double wind quintet, which offered more sonic possibilities, as well as more down time for all the players. This piece is interesting in that it demonstrates several different musical perspectives, due to my rather unfocused musical intent early in my compositional career. However, near the end of the first movement, there is a moment that explores a space that had never before been created in my music. It marks the beginning of my desire to communicate in large, open, sonorous ways, which was caused by changes in my perceptions of myself and the world.

Marcus Hatfield