NOTES

 

Andre’ E. Godsey, Sr.

Symphony no. 1 in C# Minor: Themes for Søren Kierkegaard - First Movement is a musical expression for the Danish philosopher, theologian, poet, writer, and social critic who offered a perspective on the Christian religion that one should live their life instead of being confined to dogmas, rituals, rules, and regulations only. Kierkegaard's three stages of life's way, the aesthetic, the ethical, and the religious, illustrate his desire to live in such a way that the individual shows their individuality instead of religiously following "the herd" mentality. For this philosophy, Kierkegaard received fierce and undo criticism from the Danish church and in his beloved University of Copenhagen. In this symphony in C# minor, the opening motif is a wandering and searching musical idea that reveals a heartbreaking theme, reflecting his lifelong loss of his dear Regina Olson. He and Regina were to be married, but Kierkegaard broke the engagement because he thought that he would never live up to the ideal husband she needed him to be. As a result of this emotional breakup, his philosophical writings discuss the effects of anxiety, dread, irony, faith, and subjectivity. The first movement is an introduction to Kierkegaard's thesis of what is now known as existentialism. He is known to be the father of existentialism in philosophical literature. This first movement is meant to be the sonorous rendering of what the aesthetic aspect of life could be if one has the desire to become the majestic individual Kierkegaard demanded of himself and suggested to others. — Dr. Andre’ E. Godsey, Sr.

 

 

Paul Osterfield

Silver Fantasy (2012) was commissioned by a consortium of nine flutists, organized by Lisa A. Jelle, for the purpose of encouraging the composition of new music for the flute and wind ensemble.  The work captures the fluid technical potentialities of the modern flute and piccolo while sharing the musical responsibilities equally with the woodwinds, brass, and percussion.

 

The first section of the piece begins with a slow, somber introduction followed by a statement of the theme by the flute soloist.  The theme is restated by a sequential trio of instruments, beginning in the trombone, moving to the horn, and concluding in the trumpet. The soloist develops the theme in the following passage, with light interplay between the flute part and the ensemble.  Harmonies utilized include the dissonance of the minor second, though scored an octave apart to soften the effect.  The first section concludes with a return of the introductory material.

 

The second section of Silver Fantasy is introduced by the percussion section, with the timpani stating the thematic material.  Upper woodwinds answer this initial statement utilizing derivative rhythmic material initially stated within the percussion section. New rhythms and intensity appears in the trumpets and trombones as the section moves toward a thematic transformation by the flute solo. The solo line borrows freely from the accompanimental material leading to a third section.  This appears in a militaristic, comical statement by the solo melodic line, now played on the piccolo. The ensemble, not wishing to miss out on the fun, repeats the piccolo statement in a somewhat dissonant manner while the piccolo soloist freely executes pseudo-improvisatory figurations that brings the piece to an "Ives-like" conclusion. – Barry E. Kopetz

 

 

Miguel Matamoro

Brétema

A solitary traveler entering the northwestern part of Spain, Galicia, following the historical Way of St. James could argue that our land does not really exist, that it is a mythical fabrication. It remains perpetually covered by fog and clouds, by brétema: hidden, unreachable, always at a distance. Its indomitable mountains and cliffs can only be perceived as a collection of shades that emerge from that brétema by those who dare to penetrate its unknown interior. A fog that dilutes the sense of beginning and end, of the boundary, of the defined, of the straight line, leaving only space for the unclear, the sinuous, the unfinished. The brétema becomes a mechanism of perception, a prism. The listener becomes, here, the traveler—a traveler that gets lost in the fluidity of a musical idiom made out of brétema — Roberto Alonso, violinist

 

To my father, Angel Matamoro. Miguel Matamoro

 

 

Michael G. Cunningham

Each of the four movements of Symphony No. 7 is to be either performed or heard during simultaneous reading or recitation of four selected poems of E.E. Cummings.  Though the poet did not label them as such, the four poems refer to the primitive Four Elements as listed on the disk.

 

More warmly plotted, the two Impromptus pass in time in a friendlier manner. This is the third version of this work, the earlier versions were duets with entirely different titles and movement names.  The first involves Saxophone/Guitar, and the second BassFlute/-Clavichord. — Michael G. Cunningham

 

 

 

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