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B26B4EC7-59E2-4837-AFE5-A786DB66ED7A
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Update Title: B26B4EC7-59E2-4837-AFE5-A786DB66ED7A
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FALLING MAN for baritone and orchestra are based on Don DeLillo's 2007 novel about the events, aftermath, and changed lives of 9/11, a book which enthralled Kenneth Fuchs. DeLillo's unflinching description of raw terror and absolute chaos provided a standpoint from which Fuchs could begin to come to terms as a composer with the shocking and world-changing events of that fateful morning. The work is cast in the form of a dramatic scena for baritone voice and orchestra, and the principal melodic and harmonic elements are organized around a falling twelve-tone theme. Recorded by JoAnn Falletta and the London Symphony Orchestra with baritone Roderick Williams at Abbey Road Studio, Naxos CD “Falling Man” 8.559753. "This is a wonderfully recorded disc that should continue to gain Fuchs the notoriety he so deserves." --Steven Bergman, Edge A chamber version for baritone and mixed octet, arranged by David Krane, is also available from the publisher.
Instrumentation
Baritone Voice and Piano
Commission
Dedication
For those who fell on September 11, 2001.
Program Notes
Falling Man, Don DeLillo’s 2007 novel about the events, aftermath, and changed lives of 9/11, enthralled me. I was riveted in particular by the dramatic opening prologue, in which the novel’s protagonist stumbles out of the falling rubble of the World Trade Center. DeLillo’s unflinching description of raw terror and absolute chaos provided a standpoint from which I could begin to come to terms as a composer with the shocking and world-changing events of that fateful morning. Falling Man is cast in the form of a dramatic scena for baritone voice and orchestra. The work’s principal melodic and harmonic elements are organized around a falling twelve-tone theme, fragments of which emerge at the outset, first in the orchestra and then with the setting of the first line of text, “This was the world now, a time and space of falling ash and near night.” The compositional manipulation of the theme’s twelve individual pitches does not strictly adhere to classic dodecaphonic procedures. The pitches and their permutations are taken up in various melodic and harmonic combinations and provide the basis for musical development and transformation over the course of throughcomposed vocal arias interspersed with orchestral interludes. Falling Man was composed from August 2008 through June 2010 in Mansfield Center, Connecticut. I am grateful to Don DeLillo for granting permission for the use of his text and to J. D. McClatchy for his eloquent adaptation for musical setting.
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Inhouse Note
Subito study score - #80602030; Vocal score - #80600320
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Premier Performance Memo
Recording Credits
Recorded by JoAnn Falletta and the London Symphony Orchestra with baritone Roderick Williams at Abbey Road Studio, Naxos CD “Falling Man” 8.559753.
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