Jordan Kerr

Current Trends in Orchestral Composition (LHAN-411)

Allen Levines
02/05/2018

Paul Moravec – Tempest Fantasy

 The roles of each instrument remain very traditional throughout
- Violin maintains the main melodic role except for a few sections, clarinet and
cello provide countermelodies/doubling/embellishment and the piano provides
rhythmic and harmonic support
- No use of ‘extended’ technique whatsoever
 A nice piece, but it doesn’t seem like Moravec has listened past the late romantics
and impressionists (extended tonality, quintal harmony)
 Rhythmically active but not the least bit adventurous – the most complex rhythm
being 3 over 2, eighth-note triples triplets over eighth-notes
 Inspiration is drawn from The Tempest – Shakespeare is hardly an original place
to draw influence from.
- He uses the influence non-programmatically, as ‘points of departure for flights
of musical fancy’ (the music sounds like it was written by someone who would
use such a phrase). Also supposedly an allegory for his struggles with depression.
 Lots of straight chromatics, constant rhythm and contrary motion, not much space
to breathe
- There is a nice minimal texture at the end of movement 3
- Nice texture at section marked ‘Ethereal’, but it still seems like a hollow shell
of that expression (like an early 19th century experiment with texture even)

Unsuk Chin – Violin Concerto

 This piece, to me, sounds like the discovery and exploration of a new world,
completely different from our own
 Movement I
- The constant motion of the solo violin and the orchestral accents which
emphasize the accented notes of the violin are very reminiscent of Ligeti’s
violin concerto
Jordan Kerr
Current Trends in Orchestral Composition (LHAN-411)
Allen Levines
02/05/2018

 Movement II
- Soft-spoken and spacious, even when filled with notes
- Delicate textures, but still a great sense of tension
- Absolutely gorgeous chords, utilizing the augmented high brass section
- Low drones, high register flutterings
 Movement III
- Very short and very percussive, setting it apart from the rest of the piece
- Pizzicato, col legno, prepared piano and percussion echoes through the
orchestra
 Movement IV
- Dramatic, almost war-like at the climax (huge snare roll), the dangers of an
unknown place.
- Returns to beautiful, peaceful feeling of the first movement
- Possible nod to Berg’s violin concerto, using the open strings of the violin as
motivic material