Opere per orchestra

The composition of Preludio sinfonico flowed quickly from the pen. There are two main motives in the work, offering a contrast between its fanfare opening and the more lyrical theme which emerges later, which is first hinted at unlyrically by the harp. Ultimately this second theme is also derived from the fanfare motive. The work is in the tradition of the concert overture, and while it relies on motivic development it does not follow traditional sonata form. It was composed in 2008.

The Fantasia is a free form single movement work for violin and orchestra highlighting the traditional juxtaposition of soloist against orchestra. It provides opportunity for the soloist to demonstrate both their virtuosity and expressiveness while at the same time giving the orchestra its full due in the dialogue. Composed in 2008, its inspiration lies in the tradition of the great concertos of the 19th and 20th centuries.

Piccola reminiscenza is a relatively brief work for violin and orchestra. As the title implies, it is intended as an evocation of a little reminiscence in sound. It pursues the idea that the language of music through its unique syntax can express that for which there are no words, allowing this expression to unfold naturally. Composed late in the fall of 2009.

A piece under the title of Sospiro elaborato first began taking shape in 2005. With the exception of a few phrases almost none of that material survives in the present composition. While that first version was set aside, the idea behind it continued to gestate in the interim to find fruition in the work as it stands today. The word ‘sospiro’ can mean both a sigh or a breath. The word ‘elaborato’ can mean both elaborate (complex), or belaboured (wrought out). Which of the meanings of each is the correct one? Which combination? Both and neither, all at once. This puzzle is but a superficial trapping though, and could be misleading if one focuses only on this, for then the view is too narrow and the true breadth of the moment is lost. The whole is made of details, but it is a mistake to fixate on any one detail. The work is a musical depiction of suffocation, though not necessarily in the physical sense. As such it is an unspoken commentary on certain aspects of everday life in our times. The use of silence in this work is important. As it progresses, it constricts itself to but a single tone. The work was completed in 2010.

The Notturno for orchestra went through a protracted development before reaching its final form. The initial piece was composed in 2004 and was originally intended for a film which never saw the light of day. This fragmentary piece lay dormant for several years until in 2008 it was taken up again, revised and expanded into the present work.

Leggenda No. 1 is essentially a tone poem, but without any defined program. The title was selected partly as a hommage to the cycle of works by Dvořák with which it shares a kindred conceptual basis, a theme of myth and fantasy, but without reference to any particular source. It is an evocation of things half remembered that never were. It is an idea the composer intends to return to, hence its prefiguring numbering. It dates from early 2010.