Hello Everyone!
Here is a link to a performance of my new piece for orchestra, Will you dance with me?
https://www.youtube.com/watch?v=kEe6IY6-dmI
The piece had its official premier in Spain, and this is the final performance in San Sebastian. It was commissioned for the Saratoga HS Symphony Orchestra, under the direction of Michael Boitz.
A bit about the piece:
This was the information I had to move forward with. The last point about Shota is/was the most obvious place to start, but it’s also the most paralyzing: Nobody but parents can truly imagine the pain of losing a child. I can’t imagine this, I don’t want to pretend that I can imagine it, and therefore trying to write a piece with this detail in mind is in danger of becoming disingenuous. But, it would be disrespectful to write a piece dedicated to Takako without at least acknowledging this loss in some way. All of these points played out in the back of my mind and then one day it hit me while I was driving:
“In the place between sleep and awake, Shota Hasegawa extends his hand out to his mother and asks ‘will you dance with me?’”
Immediately I heard the dance in my head. This was the first part of the piece that was realized. I knew where I was going, I knew what would drive the piece and I knew the “color painting” that I wanted to achieve with the orchestra. Shota, his father and his brother all played trumpet; this was also a clear place for an homage. Takako herself plays the violin and I knew that at one point in the piece, probably toward the beginning, I wanted to have a conversation between the trumpet and violin(s). This is where I started the piece. I didn’t want it to be a trite chronological set of events which a traditional tone poem might evoke, but rather I wanted to be a series of vacillating ethereal “dream-like” textures, expanding and contracting, with neo-romantic melodic elements representing the warmth and strength of Takako’s character.
The result is a joyously experimental piece — my first attempt at composing for full orchestra and wanting to see how the sounds in my head would translate to the actual performance venue and to the performers themselves. There’s not enough to be said for the satisfying result of pushing myself, the performers, and I believe Mr. Boitz himself into attempting to understand the non-traditional form and harmonic structure. Using this piece as an opportunity for musical growth, and Takako-san as the muse of inspiration for this, has truly been the highest of privileges.
Takako-sensei, aishiteru!!
2014
Vince, you created a moving piece that flowed around my head. The rhythmic highs and lows brought severe emotion out of me. This is before I read the back story of the creation. Bravo and well done!
Thanks, Brent!