![]() The accompanying soft chordal clusters in the muted brass veils this quotation so that it is like a memory, a dream. The crows once again scatter, but now "their flight is like a sonata, full of fading chords and manly despair" (VI: Adagio sostenuto): this is the Coda, where both the music and the descriptive words culminate in a quotation from Beethoven's Moonlight Sonata and we hear the three musical elements that open this famous sonata (the dotted rhythm of the melody, the accompanying triplet figure and the low resonant bass), which have all been individually hinted at throughout the Concerto. The "black footsteps" now become the "Steps of madness in black rooms, Shadows of old men under open doors" and an offstage bass clarinet shadows the music of the soloist. Here the ancient chant, Dies Irae, is embodied in the musical texture in much the same way as it was in the setting of the Trakl poem in Wild Winter.Ī reprise of the opening section follows, (V: Oscuro e misterioso). Eventually the march subsides and the "dark flutes of Autumn" greet the ghosts of heroes (IV: Lamentoso). ![]() Alla marcia, con furore), and culminates in a pounding march, the major climax of the work. The echoing sound of deadly weapons now erupts (III. The five movements and coda are played without any break and last about 20 minutes.Īs the piece opens, (I: Oscuro e misterioso)a dreamer approaches a dark menacing forest, where "crows scatter" at the sound of "black footsteps", where (II: Svegliato) mysterious dark forces are awakening and bells toll the alarm. Accordingly she returned to his poems and chose several short fragments to preface the major sections of this autumnal dream landscape. She had set one of his poems in Wild Winter, the work written immediately before this one. with the City of London Symphony Orchestra and the composer conducting.Īs she started work on this concerto, the composer found herself haunted by the poetry of Georg Trakl, the Austrian poet who died just after the onset of World War I. If you believe that any review contained on our site infringes upon your copyright, please email us.This work was commissioned for Victoria Soames-Samek and was first performed by her at the Cheltenham Festival in July 1994. All submitted reviews become the licensed property of Sheet Music Plus and are subject to all laws pertaining thereto.If you have any suggestions or comments on the guidelines, please email us. We cannot post your review if it violates these guidelines.Avoid disclosing contact information (email addresses, phone numbers, etc.), or including URLs, time-sensitive material or alternative ordering information.Please do not use inappropriate language, including profanity, vulgarity, or obscenity. Be respectful of artists, readers, and your fellow reviewers. ![]() Feel free to recommend similar pieces if you liked this piece, or alternatives if you didn't.Are you a beginner who started playing last month? Do you usually like this style of music? Consider writing about your experience and musical tastes. ![]() Do you like the artist? Is the transcription accurate? Is it a good teaching tool?
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