Sinfonia Concertante for Piano Trio and Orchestra

Instrumentation:

Solo vn.vc.pn./2(2=picc).2.2(2=bcl).2./2.2.2.0./timp.1perc./strings

Other Version: 2nd movt., Fantasia for Piano Trio (2007)

Date: 2006, revised 2010

Duration:  24:40

  1. Introduzione – 6:30
  2. Fantasia – 10:00
  3. Rondo – 8:10
Notes:

My starting point for composing the Sinfonia Concertante was to acknowledge the anniversary of the births of two great composers, Mozart and Shostakovitch, in 2006.   I decided I would play with the differences between the elegant and refined music of the 18th century Mozart and the more emotional and intense music of the 20th century Shostakovitch.  As I developed my composition, I decided not to quote or imitate the music of Mozart and Shostakovitch but to emphasize the idea of contrast.  Using melodic, harmonic, rhythmic, textual and instrumental as well as emotional and stylistic differences, I would explore this idea of contrast.

The first movement, Introduzione, has a strong Latin American element (especially from Argentina) with aggressive rhythms.  The movement starts with an orchestral introduction featuring the compound rhythm of a 3/4 bar followed by a 5/8 bar building into a dramatic solo cadenza for the three soloists.  The contrasting second section is in a playful and simpler 6/8 time while the more intense third section includes elements of the Spanish fandango.

The second movement, Fantasia, starts with the pianist plucking and strumming inside the piano creating a mysterious and atmospheric mood which is then continued by the orchestra.  The following neo-romantic section features the solo cello and violin in an expressive melodic passage while the piano plays a more ornamental and supporting role.  The music progresses to a playful scherzo section based on an Icelandic rhythm.  When I started working on the Sinfonia Concertante last spring (2006), I heard a lecture by the Icelandic composer, Tryggvi Baldvinsson and discovered that Icelandic folk melody commonly uses the complex rhythmic pattern of 4 plus 3 plus 4 plus 2.  I was intrigued and went home and composed the melody which ended up in the Fantasia.  The movement ends with an atmospheric and dramatic cadenza for the three soloists ending with the solo cello imitating a seagull call.

The third movement, Rondo, begins with music influenced by 20th century French styles (including Ravel), and features both graceful and virtuosic playing from the soloists.  The contrasting middle section starts with a mysterious mood with Latin American elements building towards a dramatic piano climax with cascades of notes showing a jazzy influence.  The Rondo ends as it began, gracefully.

Commissioning

Sinfonia Concertante for Piano Trio and Orchestra was commissioned by the Gryphon Trio and Orchestras Mississauga, supported by a Canada Council for the Arts Composer Residency Grant. The first performance was on November 25, 2006, at the Living Arts Centre, Mississauga, with the Gryphon Trio, the Mississauga Symphony, and conductor John Barnum.

Water and Light

Instrumentation:

2(2=picc).2.2(2=bcl).2./4.3.3.1./timp.2perc.pn./strings

Date: 2007
Duration:  16:00

  1. Mist and Rainbows – 6:20
  2. Moonlight – 4:20
  3. Dawn – 5:20
Notes:

Water and Light, Fireworks at the Falls seeks to explore the interaction between the water and light of Niagara Falls at different times during a summer day and night using orchestral music and fireworks in harmony (though this music can be performed without fireworks).  The music and the fireworks seek to represent this interaction using specific programmatic (more closely descriptive) elements as well as more abstract (poetic) forms of expression.  My intent was to create a framework in which music and visuals converge into a “form” or new “whole” that, as in opera and ballet, is more than the mere juxtaposition of art forms.

Water and Light consists of three continuous parts starting in the afternoon with Mist and Rainbows, celebrating the ever present mist above the Falls and its famous rainbows viewed from a distance.  The second part, Moonlight, starts mysteriously as the spectator enjoys the calm of Victoria Park away from the Falls at night.  As the spectator comes into the sight of the Falls, the music and fireworks grow in intensity as the power of the Falls at night illuminated by the moon becomes apparent.  Once again, the spectator leaves for more calm.  The third part, Dawn, starts very quietly and grows in intensity as the sun rises above the beautiful sight of the Falls.  As day breaks, the musical material from the first movement returns before going into the final coda section celebrating the majesty of the Falls during a bright summer day.

Go to Articles and Interviews in the main menu for an article about Water and Light.

Commissioning and First Performances

Water and Light, Fireworks at the Falls was commissioned by the Niagara Symphony with the Assistance of the Canada Council for the Arts.  The world premiere performance took place on the evening of July 1, 2006 at Victoria Park, Niagara Falls with fireworks to celebrate Canada Day.  Water and Light was also performed in the afternoon of July 1 without fireworks at St. Catharines Market Square.

Acknowledgements 

The composer would like to acknowledge and thank the following individuals:

Daniel Swift, music director and conductor of the Niagara Symphony, who instigated this project and worked diligently to make it a reality. As well, his enthusiasm, support and encouragement were a source of inspiration for the composer.

Sarah Wood, Niagara Parks Commission Event and Public Relations Manager, for helping to develop this project.

David Whysall, of David Whysall International Fireworks, for supporting this project and working with the composer in developing the artistic plan for Water and Light.

Chris Meyer, fellow composer, pianist and friend, who helped with the development of the piano part.