Kaidan (2014)
two alto saxophones - 11'
I. "Yon"
II. Inori - komoriuta - Bon odori
III. Shijukunichi
Commissioned by and dedicated to Nathan Mertens and Charles Chadwell V.
Kaidan is roughly translated from the Japanese as “a story containing supernatural elements” or, in short, “ghost story.” The first movement makes use of the Japanese/Chinese superstition concerning the number four - as it is a homonym for death (shih), hence the variant, yon, in quotation marks - by means of text painting both harmonically and melodically. The second movement is a mini-suite combining a prayer (inori), a lullaby (komoriuta), and dance music reminiscent of that used at the Obon festival (Bon odori) during which people celebrate their deceased ancestors. The last movement, Shijukunichi, is named after the 49th day ceremony after which the deceased’s spirit is said to have completed its journey to the other world. This arrangement of seven times seven (shichi - another near homonym with death) days is depicted in the main theme as it collapses from an octave leap at the beginning of the movement to a repeated unison at the end. Throughout the entire piece chromatic, functional, Western style music is contrasted with diatonic, Eastern style music to dramatize not only the form of each movement but also the Japanese viewpoint that the world of the dead is not remote, but always close at hand and interactions between the two worlds are both common and illuminating.
I. "Yon"
II. Inori - komoriuta - Bon odori
III. Shijukunichi
Commissioned by and dedicated to Nathan Mertens and Charles Chadwell V.
Kaidan is roughly translated from the Japanese as “a story containing supernatural elements” or, in short, “ghost story.” The first movement makes use of the Japanese/Chinese superstition concerning the number four - as it is a homonym for death (shih), hence the variant, yon, in quotation marks - by means of text painting both harmonically and melodically. The second movement is a mini-suite combining a prayer (inori), a lullaby (komoriuta), and dance music reminiscent of that used at the Obon festival (Bon odori) during which people celebrate their deceased ancestors. The last movement, Shijukunichi, is named after the 49th day ceremony after which the deceased’s spirit is said to have completed its journey to the other world. This arrangement of seven times seven (shichi - another near homonym with death) days is depicted in the main theme as it collapses from an octave leap at the beginning of the movement to a repeated unison at the end. Throughout the entire piece chromatic, functional, Western style music is contrasted with diatonic, Eastern style music to dramatize not only the form of each movement but also the Japanese viewpoint that the world of the dead is not remote, but always close at hand and interactions between the two worlds are both common and illuminating.
MP3 download available - contact me.
