With this composition, I hope to convey the atmosphere of five spaces that have had a profound impact on me through sound. So, I decided to offer up a composition of my own for this highly versatile and unique member of the string family. It makes a lovely solo instrument, and yet there are so few concerti written for it. I am fascinated with the sound of the viola, especially its wide pitch and timbre range. For now, the robotic MIDI sounds will have to suffice. As soon as the composition is premiered (probably a little over a year from now), I will replace these computer generated recordings with live ones. MIDI-rendered recordings follow program notes and photographs for each movement. The other dedicatee is Jen Drake, principal violist of the Boise Baroque Orchestra. I am also deeply grateful to my dear friend (and MSO concertmaster) Elizabeth Smith for her careful scrutiny and guidance regarding string techniques. The photo shows (L to R) Derek, myself, and brilliant composer Stewart Copeland, both of whom have served as helpful soundboards for my ideas during this composition process. Pictured above is one of two dedicatees for the work: Derek Reeves, principal violist of the Fort Wayne Philharmonic. I just completed the work, a concerto for viola with chamber orchestra entitled simply “Spaces.” It has five movements (I had sketches for 12, originally), each titled by the space conveyed through the music. In my most recent composition, I attempted to convey atmospheric elements about some of the more impactful places I’ve visited in my life. When I remember pinnacle moments in my life, I remember sound and atmospheric elements (temperature/weather, surface textures, etc.) more accurately and immediately than my visual impressions of these events. For instance, when I see names in my address book or think of friends and family, I don’t imagine their faces as much as I recall the timbre of their speaking voice. (For more information, see my post “Confessions of a Synesthete”)īecause my eyesight has always been quite poor, my memories are more vivid through sound and touch. I have a Synesthetic response to sound that is additionally unique, and causes me to experience all sound (not just music) through sight and touch. There’s not really any such thing as “background noise.” It all comes through loud and clear. Musicians have a rather unique relationship with sound.
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