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609FC482-2A46-4227-A710-ACBCD5190EFD
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Update Title: 609FC482-2A46-4227-A710-ACBCD5190EFD
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Commissioned for the Hochstein Youth Symphony Orchestra, Nancy Strelau, director and a group of faculty soloists for the 2000-01 concert season. The principal motive is derived, in notecodes, from the name “Hochstein” (A-A-C-A-E-F-E-B-G). This theme is presented in numerous guises throughout the work: transformed into plainchant-like motive and spun-out structures in the first movement, and into melodic and propellant motives in the second movement.
Instrumentation
Flute, B-flat Clarinet, Horn, Violin, Cello Soli 2.2.2.2: 4.3.3.1: Timpani.Percussion(1): Strings
Commission
Commissioned for and dedicated to the Hochstein Youth Symphony Orchestra, Nancy Strelau, director and a group of faculty soloists for the 2000-01 concert season.
Dedication
Program Notes
Concerto Grosso (2000) for solo group and orchestra was commissioned for and is dedicated to the Hochstein Youth Symphony Orchestra, Nancy Strelau, director and a group of faculty soloists for the 2000-01 concert season. The principal motivic material is derived, in note codes, from the name "Hochstein" (A-A-C-A-E-F-E-B-G). This theme is presented in numerous guises throughout the work: transformed into plainchant-like motive and spun-out structures in the first movement, and into melodic and propellant motives in the second movement. The title of the first movement, "A Tapestry of Mirrors," provided the image for the conception of it. The movement opens with long sustained textures in the strings: the creation of the "hanging tapestry" of sound through which the solo group and the winds/brass weave. The focal point of the work centers around the two canons in the solo group -- the first one builds in texture until the moment when all the reflection is at its peak and a pure F# major chord rings out from the solo group as the orchestra is silenced. The second canon begins after this point and dies down towards the ending. The second movement, "A Cascade of Light," is an energetic exploration of the material of the first movement. There is much contrast presented between the energetic tonal textures and dissonant motives (derived from the first movement's plainchant-like theme) which contrast. An unabashedly lyrical middle section leads to the return of the opening material and a coda. --Carson Cooman
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