The Moon
2022
for orchestra (3.3.3.3/4.3.3.1/timp +3 perc/hrp/cel/strings)
arr. from 2nd movement of Planetarium Tetralogy
Indiana University 2022 “New Voices” orchestra competition winner
Duration: 7 min.
Premiere: Symphony Orchestra, David Dzubay (conductor); Musical Arts Center, Indiana University Bloomington, IN; 16 Nov 2022
Program Notes
The Moon opens with the rumbling low brass and woodwinds introducing an enigmatic and tonally ambiguous melody, setting the atmosphere of a dark and dangerously quiet night. The A section juxtaposes the mysterious melody with the anxious and unsettling staccato notes of woodwinds and percussions, and contrasts stillness with movement. The B section was written with a clear visual image behind it: the English Horn solo represents the cold and lonely moon, which is surrounded by passing clouds—heard as the chromatic scales played by woodwinds with airy tone. In the background, harp, celesta, and vibraphone create a watery texture. This improvisatory and liquid-like music is composed with pitches from the A section melody. The music recapitulates as the enigmatic melody expands in terms of contrapuntal complexity and instrumentation until it reaches a climax. After a sonic explosion that recalls the chordal tutti in The Sun, B section returns, yet this time the English horn is followed by a shadowy clarinet solo. The night is made even creepier by the presence of 2 moons, and my inspiration for such ending was the final scene from Star Wars Episode 4 where two suns were shown on the planet of Tatooine.
— Daixuan Ai
Review
This work was extremely effective and polished. There were no wasted gestures, lines or even notes—everything was extremely well considered, reminding me of Aaron Copland’s exhortation to his students that “every note in a piece must be exactly the right one.” I was immersed from the very beginning into the work by its haunting atmosphere, effective use of “color” instruments and effects, such as harp, percussion, English horn, muted brass, expert employment of tremolo and col legno in the strings. The climactic points in the work were also very well-spaced to maximize its ebb. I believe this work has the potential to be widely performed.
— David Canfield (composer, writer for Fanfare)
IU Symphony Orchestra, David Dzubay (conductor); https://blogs.iu.edu/jsomcomposition/new-voices-for-orchestra/