Update Title: 323305C0-1FC2-4D30-954A-17F7B79DBC49

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The Prairie ldyll was written on commission for the New Hampshire Music Festival. The work falls into four sections which are played without pause. The first of these is an exercise in neo-impressionism with a very free rhythmic pulse. The second section is livelier, more dance-like in character, while the third is tender and lyrical. The final portion is written as a fugue, which brings the work to a closing climax. The music is not meant to be a literal tone-poem of the prairie, but Hamlin's own musical impressions of "the few prairies left in Iowa." There are many little things happening all at once in this music, a representation of "the incredible diversity of life" found in the prairie ecosystem. Hamlin's developmental techniques correspond to the manner in which the prairie itself is "constantly changing. You go back to a spot two weeks later, and so many things are different."

In orchestrating his tribute to the wide open spaces Hamlin called for two flutes, two oboes, two clarinets, two bassoons, four horns, two trumpets, timpani, one percussionist who must play a multitude of instruments, harp, and strings. --Peter Hamlin

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