The exploration of orchestral textures and instrumental colors was the main impetus for this piece, as well as the idea of traveling through a corridor and suddenly changing directions, experiencing a completely different configuration and architectural scheme.
After a slow but substantial introduction based on a single harmony, the music is divided into short sections of different timbrel and textural ideas, separated by sharp, percussive interjections. After an accumulation of material and a frenetic orchestral tutti at the climactic mid-point, the music is calmed, reduced only to strings and a solo violin. The calm is energized by the woodwinds and the music again gradually builds to another climax which is juxtaposed with a sudden return to the opening harmony; an ethereal backdrop in the upper strings. This backdrop is sporadically punctuated by aggressive interjections—recalling the percussive gestures from before—as the music gradually fades away to nothing, under long, melodic, bell-like tones in the percussion.
INSTRUMENTATION3 Flutes (3rd doubles piccolo)
2 Clarinets in B-flat
3 Trumpets in C
PREMIERENovember 27, 2012
Lenfest Hall, Curtis Institute of Music, Philadelphia, PA
Reading Session by the Curtis Symphony Orchestra, Cristian Măcelaru (cond.)
ADDITIONAL PERFORMANCESMarch 20, 2013
Heinz Hall, Pittsburgh, PA
Pittsburgh Symphony Orchestra, Leonard Slatkin (cond.)