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Performed by members of the Penn State School of Music.
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Program Notes:
I think one of the big reasons why I started working on this piece was to add another large-scale quartet into the repertoire. The main programmatic element was inspired by (as anticlimactic as this sounds) an online work of fiction centering on a guy forced to come to America from Ireland for legal reasons. I don't remember all the details per say, but one of the emotions I garnered from it was sheer confusion at the chaotic motion present in major American cities (compared to the solitude of Northern Ireland). Unfortunately, the author vanished from the internet, leaving the story unfinished and open-ended. I was so alarmed at the realism of the story that I felt the need to somehow put a cap on it. This is that cap.
1. On Raghtin More: The opening movement paints a dream sequence. The central character sits upon Raghtin More, a mountain in the northernmost reaches of Ireland, attempting to silence his restless thoughts. Here, upon this hill, is his source of complete tranquility. It is his safe place, his quiet place, where no matter what crap is going on in the world, he is shrouded in isolation. My opening to the piece is a musical realization of his desires: pure simplicity, almost airiness, quietness, but with a lingering energy that keeps the mood far from depressing. However, in his attempts to ease his mind, he is haunted by past memories which invade his thoughts. He hears thick footsteps and intimidating noises coming from behind him. As he runs, attempting to escape impending doom, he trips over a rock, allowing his pursuer to catch up. He turns his face in horror to view his attacker, only to find that it is one of his old friends, the one who happens (or should be) dead. Confused but incredibly relieved, he questions why his friend is still alive. His friend just laughs at him, saying that "a friendly angel showed him the way." Motioning for him to follow, his friend starts walking down to a cliff edge--the one he had tumbled over. The ominous sound of footsteps appears again, this time louder and faster than ever. Out of the thick brush appears a hoard of demonic creatures, which push him over the edge. At that point the main character wakes up, realizing that he is sitting on a plane to New York City, and that he probably won't ever see Raghtin More again.
2. In New Jersey: The main character takes up residency just south New York City, and is horribly unprepared for the life he is about to live. He is every morning woken by the sounds of angry car horns (hence the opening), and other loud noises. The people appear cold and disrespectful, seemingly more concerned about reaching their destination on time than respecting others. He attempts to seek guidance from a few locals with mixed success. One happens to remind him of his old friend--laid-back but serious in an appropriate fashion. I have to be honest; at this point the story basically leaves me, and I never came up with a distinct plot line while writing the rest of this piece, which is an emotional soundscape. The rest of this movement takes themes from the first movement and distorts them, bringing back the "sanctuary" theme, albeit distorted and defaced. The end portrays a sudden realization, similar to the one experienced in the first movement, yet much more abrupt and energetic. It is the realization that he is unable to escape from his past memories of broken friendships, as history is bound to repeat itself.
3. And One With Me: The opening is filled in apprehension, followed by acceptance of the circumstances the character is in. He is not in a completely comfortable position, but he no longer feels constantly threatened, neither does he have to retreat in order to find his sanctuary; it exists within him. Even though he does experience moments of pure frustration and fear, he is able to control them more effectively. The third movement is also reminiscent of a simple love song--of desire and longing for what is already in one's hands. My goal for this movement was to highlight moments of beauty and love, with the reality of life still omnipresent. The movement moves into a faster section, bringing back previous themes, meshing them with representations of emotions with a certain dance-like quality, of exuberance for life. The tempo recedes, which leads to an emotional climax of (I tried) Mahler-esque proportions. However, instead of ending on such a large note, the piece concludes with hints of the "sudden realization" theme, followed by a quiet, denouement, because the character's life is far from over.
Image is "California Poppyfield" by Ranville Redmond; I claim no ownership.
Thanks for listening!