For Symphony Orchestra
Commissioned by the Long Ashton Orchestra
Composed: 2023
World Premiere: Nov 4, 2023 - Long Ashton Orchestra
When living in an international metropolis, it can be easy to lose sight of the massive networks of infrastructure, planning, community, and general goings-on that enable what most of us take for granted. Even just the concept of defining what makes a city truly "modern" can be difficult: living in Chicago and London have shown me that even two major cities, both with world renown, can feel incredibly different in so many ways. In the current era, even just the definition of "city" itself has grown to encompass more conceptual meanings beyond just the structures and map boundaries. Overture for a Modern City is my attempt at capturing that set of undefined yet palpable set of emotions that quietly but firmly underscores city life - the idea that these human creations of incomprehensible size can be a source of wonder, majesty, and awe if you take the time to step back and consider the scale of complexities that give rise to our daily lives.
The introduction begins with a chord composed of C, E, D, and F - the four major tonal centers of the piece. The 4ute solo introduces a figure that will serve as a recurring countermelody throughout. After the clarinet solo, the strings state the notes C, E, D, and F in the order that these tonal centers appear in the piece.
After the fog abruptly clears at rehearsal B, the strong B natural to E natural (dominant-tonic) figure that slowly formed during the fog is stated in its establishing rhythm form for the first time, in the low strings and bassoon.
The pace quickens, and the "dominant-tonic" motif is established further, with transitionary material in the upper winds providing a stronger sense of tonality.
Arriving at the most significant key center of the piece, we transition the "dominant-tonic" motif into the "Love in the city" theme. This section (measure 64) should be treated as an implied "dolce."
This development section is meant to evoke the industrial side of the city, a precise yet cacophonous depiction that weaves through the entire orchestra.
At rehearsal F, we finally hear the first statement of the main theme in the clarinets and violas. A secondary moving line emerges in measure 122, using the rhythmic figure first heard in the horns and middle strings in measure 34.
Between G and H, the name of the game is contrast - both in timbre (woodwinds vs strings) and dynamics. Strings should maintain double forte through all interjectory figures.
At H, we hear a minor statement of the theme for the first time. This statement transitions into a dissonant pedal in the low strings and bassoon, which eventually grows and takes over.
This is the most energetic portion of the piece, meant to evoke the speed of progress in modern cities. This driving ostinato that begins in the upper strings makes its way through almost all other instruments of the ensemble by the time this section concludes. As the ostinato is the core component of this entire section, care should be given to ensure it immediately locks in at the faster tempo and maintains precision throughout. The triple staccato pickups to this ostinato can be found scattered elsewhere in the piece, such as the first three notes of the entire piece, or the final notes of the horns at the end of the piece. During the climax at 199, the chromatic counterpoint should be confident and rhythmically precise against the main melody in the upper winds.
The "Love in the city" theme returns, but this time as a small brass chorale, evoking the sentimental emotions associated with sunset. Be certain not to rush the silence before the penultimate measure.