ADIGO FOR STRING

I. Prelude
II. Machine
III. Deuteration Of The Mind
IV. An Ghostly Hall

Symphony No 3 from a past memorie

V is a concert suite inspired by the works of Kurt Vonnegut.  The piece is intended to capture the humor, melancholy, fantasy, and introspection often found in his novels and stories.  

I. Hapless Hero establishes a main character; a man whom, like many of Vonnegut’s heroes is the center of unwanted attention.  The movement explores an awkward melody shared among the various instruments of the ensemble.  Often the melody is placed in precarious tessituras of the instruments creating a sense of strain of instability.  Vonnegut’s main characters are often out through a strand of events that transfigure their perspectives.   To emulate these trials the melody is reset throughout the movement, and can be heard from multiple perspectives all at once. 

II. Unstuck frolics within the farcical mood of Vonnegut’s fiction. Vonnegut’s satire often examines the views of free thinkers, conformists, and authority.  Taking a cue from these views, Unstuck involves three separate motives that are all trying to find their roles in the music.  As the movement begins, the first angular and absurd melody is thrown around the ensemble symbolizing conformity. Next a more lyrical, almost out-of-place melody is introduced symbolizing free thought.  No sooner does it gain momentum before the lyrical melody is squelched by the first angular tune.  As the movement continues, the two melodies attempt to co-exist by overlapping in the texture.  Little by little, more voices enter, including the “hero” melody from the first movement. As the texture becomes unreasonably cluttered, a third melody enters in the mallet instruments: a dissonant siren, symbolizing authority. Eventually all the voices climax in unison as they strike a balance with one another to end the movement.

III. Storm  represents the villainy in Vonnegut’s works. In most cases, Vonnegut did not write villains as individuals, but more often, as cultures or tyranny.  The movement begins with a melancholy motive, setting a scene of despair. As the introductory motive subsides, antiphonal bass drums and trumpets build into a tirade of chaos.  The motive re-emerges as a theme of outrage. The ensemble is thrust into a series of impacts and tantrums, as multiple waves of attacks build to the climax of the movement.  It is only in the very end of the movement that the “hero” melody barely emerges from the ordeal.  

IV. Postlude:  So It Goes is a short elegy for Vonnegut, whose life’s work entertained, awakened, and inspired so many people.  Once again, the “hero” melody is layered into the texture.  However, in this movement, the melody has transformed from an awkward melody, to a more lyrical major-based tune.  After the journey the hero has come to terms with the world around him.  Although, at the core he is still the same person, he finds a new comfort and peace in the end.  

This recording is a live performance of the Peabody Wind Ensemble under the direction of Dr. Harlan Parker in December of 2006.

ADIGO FOR STRING

zackary jurj

Related tracks