Update Title: 1ED6B530-7E87-43B8-A05A-023DC1B7A8A0

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While sketching and working with the principal musical materials for what was to eventually become the first piece you will hear this evening, I stumbled upon the Harvard Dictionary of Music+s definition of INTRADA. I was unaware of the title or its meaning, and I was immediately attracted to its history and to its musical possibilities. Apparently, pieces titled intrada are of four general types (Riemann, 1957): fanfare-like in duple meter; in the style of a solemn pavan; dance-like in faster triple meter; and homophonic and songlike. The term dates to the 16th century and was also used for festive, introductory pieces by Gluck, Mozart, and Beethoven.

I became particularly intrigued with the notion of combining the four intrada styles into one piece-especially since these happened to exactly correlate with the music I had already sketched: opening fanfares; slower contemplative music; rhythmic +dance+ music; and a songlike passage for the upper strings (which now occurs near the conclusion). Also, as the work became framed within a large-scale ABA+ form, I chose to mix and match the defining characteristics of the four styles. For instance, the middle section of a lively dance is contemplative. A songlike theme develops the dramatic nature of the fanfares and leads to the work+s climax. Afterwards, the contrapuntal, pensive music is transformed into a song that introduces the return of the opening section, etc.

In conclusion, INTRADA is a rather challenging piece for youth orchestra, and I am grateful to Christopher Russell and to each member of the Pasadena Young Musicians Orchestra for their artistry and dedication to the work. --James Aikman

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