Fairies are often depicted as ethereal beings with delicate wings, allowing them to soar through the air gracefully. Their magical powers are believed to include the ability to grant wishes, cast spells, and bring good fortune to those they favor. Despite their small stature, fairies are known for their mischievous nature and playful antics in folklore and literature. 
 
The symphonic fantasy "Fairies" is a vibrant and enchanting portrayal of these magical creatures in the world of contemporary orchestral repertoire. It aims to capture the essence of their whimsical behavior and transport listeners to enchantment and wonder. 

Apart from the regular large orchestral instruments, the unusual instrumentation comprises various unique and unconventional sound sources. Even though used sparingly, the electronic sound sources add a modern and ethereal touch to the overall sonic landscape. The orchestra includes piano not as a concerto soloist but for its peculiar timbre, especially in the low and high ranges.
 
This distinctive orchestration allows for a rich tapestry of sounds, creating a musical experience that is both otherworldly and captivating. The delicate tinkling of the piano's high notes dances alongside the deep resonance of the low strings, creating a mesmerizing contrast that adds to the whimsical atmosphere. Additionally, the electronic sound sources add a touch of modernity, weaving in ethereal textures that transport listeners to a realm of enchantment and wonder. Together, these unconventional instruments and sounds form a symphonic landscape that is truly unique and evocative.

Movements: I. "Gnomus"; II. "Elf"; III. "Pixie"; IV. "Puck"; V. "Sylph"

Gnomus is a creature typically portrayed as a small, bearded man wearing a pointed hat and is often found in folklore and mythology. Its malicious plans are known to cause mischief and play tricks on humans. Paracelsus, a Swiss physician and alchemist from the 16th century, believed that gnomes were elemental beings that lived underground and had superior knowledge. Fairies' first movement, "Gnomus," is a playful and witty ode to these mythical creatures. Partly threatening and somewhat enchanting, the music reflects the dual nature of gnomes.

Elf is a strong contrast to the preceding movement. These elves are prized for their grace and elegance, and the music evokes their ethereal beauty. The graciousness is expressed in the delicate melodies and supple harmonies. The instrumentation includes soft strings and subtle wind instruments with ethereal synthesizer sounds. The soundscape conveys a sense of otherworldly tranquility and serenity.

Pixie is a mythological creature that is often associated with wickedness and playfulness. Light and fast, pixies move through the forest, leaving a trail of laughter and pranks in their wake. The Scherzo movement reflects their malicious nature, filled with fast and playful melodies and uneven rhythms.

Puck, immortalized by Shakespeare in "A Midsummer Night's Dream", is often considered the epitome of wickedness and trickery. The figure is also known for his love of naughtiness and tricks, which adds to his playful nature. This is another scherzo, but it differs from Pixie in that the character's mischievousness is more deliberate and intentional.

Like a ballet character, Sylph is often described as ethereal and delicate, a mythological creature believed to inhabit the air and possess magical powers. In "Fairies," the Sylph is typically pictured as a graceful and elusive being, magnetizing males with otherworldly beauty. The music of the Sylph's dance is often light and airy, with delicate melodies and soaring high notes that create an ethereal atmosphere. This last movement ends the symphony with enchantment and mystery.

Translucent Lanes 12 Ballades for the solo piano

01 - Gnomus

02 - Elf

03 - Pixie

04 - Puck

05 - Sylphides

Kū, also called Sora, is a term that can indicate "void," "sky," "heaven," or "environment." It refers to things beyond and within our ordinary awareness, especially those made of pure energy before they materialize or the emptiness that holds that energy. Kū is a tangible symbol of spirit, mind, and creative power. It stands for the process of creating things. It is also associated with the capacity for strength, originality, spontaneity, and innovation.

Ma (間, space, pause) is a Japanese reading of a Sino-Japanese character, which is often used to refer to what is claimed to be a specific Japanese concept of negative space.

The (chamber) symphony number 4: "MA" explores the idea of "negative spaces" as spaces within notes also related with "Kū". 

For example, composer Toru Takemitsu deliberately leaves deliberate moments of silence, or negative space, in his composition to create a sense of tension and enhance the impact of the musical phrases. The absence of sound in these negative spaces allows the listener to fully appreciate and focus on the intricate details and emotions conveyed by the surrounding notes.
 
This technique of utilizing negative spaces in music is not unique to Toru Takemitsu. Many composers throughout history have employed this concept to varying degrees in their compositions. By intentionally leaving moments of silence or sparse instrumentation, composers can create a sense of anticipation and heighten the overall impact of the music. This deliberate use of negative spaces adds depth and complexity to the composition, engaging the listener's attention and allowing for a more nuanced interpretation of the piece.
 
The chamber Symphony MA uses many electronic sound sources and experimental techniques to enhance the immersive experience further. Delay and echo effects are applied to acoustic instruments to create those "negative" spaces around the notes. These effects add depth and ambiance to the music, giving it a unique and captivating quality.
 
In addition to these effects, the chamber symphony MA also incorporates spatialization techniques. By strategically placing and moving the instruments throughout the performance space, the composition can create a sense of movement and three-dimensionality. This spatialization adds an extra layer of immersion, as the audience is enveloped in a rich sonic environment that constantly evolves and shifts around them.

V. Canvas Of The Cosmos (Chamber Symphony MA)

IV. Uncharted Spaces (Chamber Symphony MA)

III. Hollow Emptiness (Chamber Symphony MA)

II. Dormant Dreams Awaken (Chamber Symphony MA)

I. Depths Of The Midnight Sky (Chamber Symphony MA)

David Ezra Okonsar, Belgian pianist, composer, conductor and musicologist was born in Istanbul, Turkey. He studied piano, composition and orchestration at the Brussels Royal Conservatory and musicology at the Istanbul Technical University. His primary teachers were J. Cl. Vanden Eynden and Alexis Weissenberg for the piano and Madame Jacqueline Fontyn for composition. He is laureate of numerous international piano competitions including the Gina Bachauer. Besides his international concert career he is a prolific composer and music writer.

New tracks tagged #Klasikler