Update Title: 59CAF726-9674-40CC-B9D2-55375135E846

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- In this most direct piece of music I’ve tried to mask nothing, and speak purely in every moment.

The six composers alluded to in Ghosts are all ones whose music touches me. Specific moments from particular pieces come and go -- meant to be discovered by the listening ear -- as the themes commingle within an original structural concept, morphing into one another in ways impossible to imagine in the originals. Some references are quite clear, others are merest hints, nuances, whispers. Likewise, tonality appears and, swirlingly, dissolves throughout the movement. Such ‘ghostly’ transparencies as manifest themselves do not properly alight, but instead hover.

In the close-knit yet harmonically luxuriant Elegy, a single long melody begins in measure one and is spun out through the movement in one continuous song. Tonally pristine, the movement has an intentional British cast. Phrases proceed in long arches, and the sense of semi-cadence ( ‘half-close’) is purposeful, to honor the memory of my aunt, Mildred Barrett-Leonard Friedman, who died at too early an age in autumn 1997.

Dancin’ over my grave is really a species of ‘demonic’ passacaglia. A devilish, insistent main theme is sprinkled about, supported by an ensemble playing noises as well as notes -- all there to keep the beat -- amidst a general, syncopated flavor of ‘fiddling’. Harmonies favor a jazzy, slithery-chromatic tonality, and technical flourishes abound.

Refreshment of color and texture on a continuing basis is important to the two outer movements. Much of the time the orchestra is divided into more than its five standing sections, and in all three movements soloists from any (or all) of the five departments are called upon.

-- Judith Lang Zaimont

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