An Elemental Music (2022)

For Orchestra
Duration: 12 minutes
2.picc.2.2.2.cbsn – 4.2.3.1 – timp.2perc – hp.pno – strings
Alternate instrumentation: 2.picc.2.2.2.cbsn – 4.2.3.1 – timp.3perc – pno – strings
Commissioned by the La Jolla Symphony & Chorus
First performed by the La Jolla Symphony, Michael Gerdes conducting, March 18, 2023

Note: Movement II can also be performed as a 7-minute standalone composition. See The Cold Song.

Perusal Score (PDF)
Contact Alex for ordering

I. Crisp, bright
II. The Cold Song. Desolate, icy
III. Dark, mysterious — As in the first movement — Presto

In the three movements of “An Elemental Music,” I seek to explore basic musical materials—things that are primary, fundamental, or “elemental”—in fresh and unanticipated ways. I wanted to delve into some of the core components of my musical craft, and I hoped to infuse them with a new vitality.

In the first movement, I start from a chord (the dominant seventh) ubiquitous in many musical genres, from nineteenth- century symphonies to the twelve-bar blues. But rather than using the chord as a means to an end, I view it as an object of musical exploration in its own right, treating it like a hub where many different harmonic paths converge. The music explores these paths in turn, winding through the orchestra in lively and colorful fashion.

The second movement is by far the longest of the three, comprising over half the total playing time of the work. The movement is a very free reimagining of the aria “What Power Art Thou” from Henry Purcell’s “King Arthur,” also known as the “Cold Song.” In Purcell’s aria, the spirit of winter (the “Cold Genius”) is summoned to life: here, then, I use the word “elemental” not only as an adjective, but also as a noun, referring to the primal forces of nature that the Cold Genius embodies. In my version, I freely transform the shivering staccato motif and aspects of the harmonic progression from Purcell’s original, gradually building to an intense, chilling depiction of the Cold Genius. Fittingly, I finished this piece on a day of subzero temperatures in central Illinois.

The brief third movement revisits materials from the first, but in a distorted, out-of-order fashion—perhaps as if being recalled from a distant memory. The music eventually transforms itself into a jig that gives way to a grotesque, march-like climax.