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Trilogy

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(as of Dec 15,2020 18:13:07 UTC – Details)



The music of Trilogy speaks for itself. Here are some thoughts that may help in understanding the feelings at the source of this music. From the Depths This is a cry from the heart. Its theme is universal. Though the titles are from Psalm 130, the music stands alone and may mean different things to different people. 1. From the Depths. Most of us at some point find ourselves sinking in the depths of something we are not, and longing to get out. The trumpet tries to break free; the strings are pulling at the trumpet with delicious and insistent harmony. The trumpet sometimes sinks to its lower register in utter exhaustion; the strings sometimes soar above the trumpet, but the two are learning to be in balance together. 2. I have cried to you, O Lord. The melody here has a newfound confidence and hope; the desperation of the first movement has been replaced by a new ease; the prayer begins to be answered, and the song has a dance like quality, surefooted and light on its feet. Strings and trumpet no longer struggle with one another, but dance the same dance. 3. Lord, hear my voice. The dance like quality persists here, but the strings now carry it alone. The urgency of the trumpet’s calls is gone, replaced by a kind of intense tranquility. The mode is predominantly minor, serious and thoughtful, but with little sadness. The upper melody floats like a little boat on the ocean of the lower strings. River 1. Source. The river is clean and simple at the source. The tune ripples along happily and playfully in a straightforward C Major. Unlike From the Depths, which travels upwards, River begins on the mountaintop and runs gaily downward, always taking the easiest path, going around obstacles, not confronting them. 2. Flow. In the lowlands now, the pace is more leisurely as the river winds along, slowly dancing across the plains in 3/4 time. But despite the change of pace it is still the same river, with the same goal, to join the ocean. 4. Delta. The river has almost arrived, and in a sweet, deliberate way it spreads out on its way to the ocean ahead. Chester Composed shortly after Chester’s death in July 2000, the Chester Trilogy reflects the prevailing distress and intensity of those days, though the last movement looks forward to a more peaceful time. This music is dedicated to the memory of Chester Feuerborn, and is as much about those of us still here remembering, as it is about Chester. 1. Uncertainty. There is much tension here and little resolution. However, in spite of the strife, there are moments during this movement that anticipate the calmness of the third movement. 2. Passing. The mood of this slow waltz is somber, intense, and very sad, and it extends the feeling of the first movement. The music is a lament. Nevertheless the beginnings of resolution can sometimes be felt amid the prevailing sadness. 3. Harbor. This movement has a different quality, a quiet calmness. Though the same A minor key prevails, the piano and strings are not wrestling with each other as in the first movement, but blending harmoniously. The mood is peaceful and restful.

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