 |
 |
 |
emily wong: structures III for orchestra (2003) The idea of writing about the structure of sound began a few years ago when I unexpectedly envisioned a series of notes, hearing them while at the same time seeing them as golden spheres that created a pillar of sound and light. That series of notes evolved into a piece written for alto saxophone and piano entitled Ionian Pillars. It was more or less in C Major. The first movement of this orchestral work grew from that kernel of music used in the saxophone piece, and eventually became Columns and Corridors in fascination with the relationship between these two aspects of building, their similarity of shape versus their differences of function. As explored in ancient Greek civilization, the pillar among other things could represent a reaching upward from earth to the heavens, and functions as a structural support, creating corridors which are passageways that deliver one from room to room. The use of the Dorian mode calls up imagery of ancient architectures, while the sounds of the alto saxophone and use of jazz tonalities bridges the gap of time. The idea of singularity, of things both aural and visual being two parts of the same principle, is played out as a single tone that begins and continues through the 1st and 2nd movements. The second movement Gateway to Askleposis continues with no break from the 1st movement, and evokes the entering of the individual into a sacred space. It begins with an intonation in the low registers with basses, bassoons, tuba, timpani and bass drum, representing a chant of the sound "HU," known to be uplifting to the heart when sung. The movement continues through a series of episodes that convey a sense of gestation, of constant unfoldment or awakening to various levels of clarity and of resonance. This is a metaphorical gateway to a very real Wisdom Temple - an inner place to visit, but a rarefied one where insight and perspective are gained. Other sounds that are more familiarly part of our spiritual heritage are heard in the use of bell-like instruments and the emergence of a "gospel choir." The third and final movement is titled Gathering. Structures enable us to be sheltered, and protected, but they are also focal points for a myriad of events, from joyful and celebratory, to powerful and even somber. This movement then is about social structures, and the interplay of rhythms that occur when people gather. It is written as a set of variations, starting with a percussion ensemble, with some brief references to West African music. As drums were at one time used as a means of communication - in call and response - this opening is a call out for the gathering of forces within the movement. Other influences come from contemporary rock musicians such as Dave Matthews and Carlos Santana. This piece is a result of a commission from the Concordia Orchestra. Emily Wong
|
|
 |
 |
|
|
