Thursday, September 12, 2013

Also for instance!

So.

Imagine I asked Amy what kinds of stuff she wanted me to write in a concerto tailored for her.

You don't have to imagine! I did, I did.

So Amy said, among other things, that she loves playing the Bach keyboard concerti. So I got all of them on my iPod and did calanque walks listening to them all — all the while wondering about the G-flats in the F minor concerto. Because I think I am programmed to wonder about that stuff.

And then I imagined an architecture for the slow movement of the concerto that mirrored the fast movement that preceded it: fast-slowish-fast in the first movement, slow, speeding up, fast, slow for the second movement. Me being me (how could it be any other way?), I got faster in this movement through metric modulations.

Because I'm worth it. You're worth it.

But the slow movement is also written in memory of Milton Babbitt, who died while I was writing the first movement (I don't mind saying I was devastated). So there's a lamenty thing with English horn soloes at the beginning and end — using the set from his Solo Requiem — and a piano solo that continues the slow music, and, and ... well, Amy sent me this as a text on August 22. The previous post has the slow music and the first Bach stuff.

This one is the contrapuntal stuff wherein I was trying to do Bach. The boogie woogie bass may have been accidental. And it comes right after a brass fanfare on the same motivic material. So there.

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