Searching

 

 

 

 

 

 

 

 

 

Monday
At least I settled on a new piece, a trio for flute, cello and piano. Now begins the long process of searching for a suitable opening; a suitable format. The process includes listening to other pieces in the medium. I was particularly impressed by the Lowell Lieberman trio. He has such command of form and outstanding technique.
Next I sit in my studio and search the possibilities in my mind. I try to avoid the pitfalls such as mimicking other pieces. The search, more than anything is seeking out something that is convincing as well as honest. Working the best I can with the skills I possess.
Later this morning, I returned to the Teasdale setting. I was able to set another line of text but was not able to write anything worthwhile beyond that point.
The only real positive outcome today was with the sax choir piece.
Wednesday:
After listening with a clear mind to the beginning of the flute/ cello/ piano piece, I decided to trash what I’ve written. It seemed to sound more like a cello sonata than a trio. It also seemed too dark. The  newest effort begins with solo flute but I was hung up trying to find a way to introduce the other two instruments. I’m also still searching the the right balance of dark and light in terms of harmony and texture.
The Teasdale setting seemed work, but deep downI have my doubts as far as my choral writing chops are concerned. There is no doubt that my strong suite is instrumental music. That’s owing to the fact that so much of my background has been has been centered around performing in bands, orchestras and other chamber ensembles. There is a certain focus one needs to write for choir. To really get the feel for writing for a bunch of voices, one needs to almost be embedded in a choir as both a singer and conductor. To know how a choir thinks, breathes and uses their collective voices is essential to being a successful choral composer.
Thursday:
I was still searching for a meaningful beginning for the flute, cello, piano piece. After this morning’s session, there seems to be a ray of hope in terms of the first few measures. The opening unison line in the flute and cello seems somewhat compelling and the counterpoint in the piano appears to be a suitable balance.
I reached a suitable ending for Redbirds. I know I had disparaging words about my choral writing yesterday, but somehow this setting really seemed to hold together in terms of melody, harmony, and the flow of things.

I haven’t said much of late about the sax choir piece. The Pictures at an Exhibition paraphrase seems to be working out. So far, I’ve been playing around with the Promenade  music and am uncertain if, and to what degree I will introduce material, from the other movement of Pictures.
Friday:
The beginning of the trio was further solidified this morning. I kept the piano part as is and reshaped the unison melodic line in the flute and cello.

Next, I attempted to get a new Teasdale setting off the ground. I chose the poem: April Song, a text I set years  for baritone and piano. I was able to find a tune for the first line of text sung by the sopranos. Tomorrow , I’ll still be searching for a suitable textless accompaniment by the lower voices.
Sunday:
I didn’t hear from the choir folks in Phoenix, so I assume that didn’t include my piece. No time for should have- could haves. I do plan to edit and send the second song Redbirds to be published online.

Here is what it sounds like:

 

 

 

 

 

At the Crossroads

Monday:
I think I’ve reached a satisfactory ending to the bassoon quartet. It ends on a somber note; as if the mother tries to calm her distraught child but to no avail. I will probable delay editing the piece, and move on to other things.In a few weeks, I’ll revisit the piece with a fresh perspective .

I decided to totally revamp the trumpet/ marimba piece..For starters, the piece will be comprised of a series of short episodes rather than one long single- movement.

The first episode begins with a slow pulse in the marimba over which is a sustained, floating trumpet line. As the movement progresses, the activity in each instrument gradually becomes more involved.
Tuesday:
It came to my attention later Monday night that a choir in the Phoenix area is considering new works by Arizona composers. I have only a week to get a new piece written, but I still decided to give it a shot. I settled on the  Walt Whitman poem Small the Theme of my Chant.

I decided to set it  a cappella (SATB) to fit the guidelines of the call for scores.

The piece  starts out with a sustained pedal tone in the altos over which is a chant- like tune in the sopranos. 

I must. confess,I’ve never had much luck with my choral writing. 
Wednesday:
I spent  virtually all day consumed with the choral piece. As I delved into the piece, I faced a few challenges. Having decided to have the work sound ‘chantlike’,I just couldn’t seem to find a focus. The piece was sounding too Balkan; too much like a Bulgarian choral piece. Another challenge that I doubt I could have solved in a week is that Whitman’s verses have a lot of symbolism; one needs time with the text to get all the subtle meanings.So I decided to put the piece to one side for now. Instead, I decided to turn to a tried and true poet whom I’ve set many times before: Sara Teasdale. I settled on the poem There will come soft rains . It’s a poem I’ve actually set before. Seeing that I have less than a week to work with, I decided to set the piece homophonically with little counterpoint. The call to scores is for a ‘pickup’ chorus that won’t have much time in the way of rehearsals so it follows that a piece that’s quicker to write is quicker to learn.

Thursday: Work on the Teasdale setting seemed to go reasonably well. In fact, instead of working on the trumpet- marimba piece, I decided to start on another Teasdale setting: the poem Redbirds it was a poem I set years ago while a student at Eastman. I’ve tended to shy away from writing choral music which hasn’t been a strong suit for me. But now I seem to be more comfortable with the medium since I’ve had a break from it. The worst case scenario is if the pieces aren’t programmed by a choir, I could always publish them on line. I have about a half dozen choral works available with an online publisher and two of them have sold a number of copies.
Later in my morning session, I returned to the sax choir piece. The Pictures at an Exhibition theme seems to have taken hold. I would describe what I’m doing as a mix of  deconstruction and jazz.
Friday:
There will come soft rains seems to be working. In my judgement, it has a nice flow, the harmonies are effective and the melody is memorable. Will the people in Phoenix go for it? I can’t say. It might not fit their stylistic preferences. The harmonies might not be spicy enough. It might be too short. Then again, they’re more likely to fit in a short piece rather than a long one. Provided I meet the deadline on Sunday, we’ll just have to wait and see.

My long range plan is to have a group of about four Teasdale settings. 

I think I’ve learned from my failures and have become more skilled at choral writing. But, a bit of doubt lingers in my mind.
Saturday:
I completed  There will come soft rains this morning to my satisfaction. I then turned to work on Teasdale’s Redbirds and think I came up with an effective opening.The thing I like about setting poetry is that the structure of a poem seems to dictate a musical form. It’s almost as if the piece of music is prefabricated. 

There is a similar situation with the sax choir piece. Given that it is a kind of paraphrase of a preexistent piece of music, I’m basically taking bits and pieces of the Pictures theme as fuel for the form and direction of the piece.

The Tuba Piece

 

Monday: 
It’s not  uncommon for me to work on three or four pieces at a time. In recent weeks the piece that’s been on the back burner has been a work for tuba solo.  Because of time constraints, I was only able to work on it sporadically. Despite this seeming lack of attention, the minutes I’ve had with the piece have proven to be productive. The piece is entitled Ritorno, which means ‘return’. It is similar to the word ritornello which has virtually the same meaning.
The difference here is that the term ritornello is mostly associated with a form from the classical era. In this form there is a section of music that keeps returning alternately with different contrasting sections (ie. ABACADA or ABACABA etc.)
In the case of my Ritorno, lyrical sections of music alternate with  bold, agitated sections resulting in the form : ABA’B’A’’
Certain little motives or fragments also return randomly throughout the piece. In addition, a motive which was initiated in the ‘A’’ section,  might reappear in the ‘ B’ section under a different guise.
The ‘A’ sections are basically lyrical in nature. The ‘B’ sections are generally driving or ponderous. Now and then low jolts creep into the ‘A’ sections and lyrical snippets might appear in the ‘B’ sections, The latter A and B sections are loosely similar to the initial sections A and B. At this point I have one more decision to make before completing the piece: Should it end high ?or low?
Wednesday
Meanwhile, the bassoon quartet moves along. The final section consists so far of doleful  lines in octaves in bassoons 3&4 with bassoon 2 weaving above.Topping off the texture is a mournful answer in the first bassoon …
The saxophone choir piece has reached an impasse. It’s stuck on the launch pad and doesn’t want to take off.So for the rest of the day and up until I fall asleep and possible in my dreams, my mind is preoccupied with the sax choir piece. 
Meanwhile , the tuba piece is put on hold.
Thursday:
Upon waking this morning, my thoughts are still on the sax choir piece. On Thursdays, my wife and I walk this steep hill west of downtown Tucson for our morning workout. I traipse up the steep incline amidst saguaros and prickly pear, with my mind churning around for ideas for the sax choir piece. ‘Tumomoc Hill’ as it is known, is a balm for the mind and soul , and by the time I’m back on level land, I think I have a fresh ,new idea that might just work...
Back home, I made some progress with the bassoon quartet, and brought the tuba piece to a successful ending. (I chose to take the tuba down to its deep, dark bottom range at the successful close.)
Friday:
The bassoon quartet is slowly nearing a conclusion. Today I tried to reach a balance between the dark lower bassons  and the higher, mournful upper bassoons.
The sax choir piece seems to be going well. I’ll reserve sharing the details for now so as not to ‘jinx’ things.
Today I started editing the solo tuba piece. First, I check the pitches, followed by the dynamics, articulations and expressions.
Saturday:

The bassoon quartet seems kind of stalled at this point. At the moment, the challenge is trying to juxtapose the low, dark music with the lullaby. The low dark music seems to be working, but I can’t seem to find a suitable way of reintroducing the lullaby.
I’ve made some progress this morning with the sax choir piece. I can say at this time that the piece is a reconstruction, of sorts, of the Pictures at an Exhibition theme.

Easy Going- Tough Going

 

 

 

Monday:
 The 4th variation of the bassoon quartet came together with relative ease. After establishing a modified ‘punta’ beat ( see the previous blog)comprised of lower voice down beat- inner voices off beat, the variation seemed to almost write itself. It was just a matter of the  placement of the melodic line- offsetting here, delaying there. In order to catch the listener off guard,I slightly shifted the rhythmic pattern at odd moments and  put the harmonic patterns slightly off course.

The 5th variation is kind of an augmented version of the third variation. The first couple of phrases build with slow imitative entrances culminating with a mournful melodic entrance in the first bassoon.
Tuesday:
I continued work on the 5th variation and am at a point where I am anticipating the final section of the piece. Which brings to mind the reasons I’m composing the work in the first place: Besides having the honor to write a work for the Luftbassoons, I was compelled to use the piece as a vehicle to express my contempt for this country’s immigration policies. The newspaper image of a mother with her young child who had to flee Honduras because of gang violence sticks in my mind. This might explain my choice of a Honduran lullaby as a theme of the composition.
Wednesday:
When I’m nearing the end of a piece in my composition process, I sometimes run into snags. I think this is  a  result of my keen desire  to reach the final double bar rather than be my more methodical self. Such was the case today. Whereas yesterday the work on the ‘punta’ variation went quite smoothly, today’s session with the fifth variation was just the opposite. I was attempting to present the slow moving patterns with slow twists and turns but something seemed off.  Now I’m beginning to wonder whether this variation has become too late romantic sounding and too derivative.
Thursday:
On second thought, I think the fifth variation is affective. With a bit of self analysis of sorts, I see that I am making a meaningful connection to the third variation.Here I am presenting slowly moving chromatic lines, once again with the 3 to I formula. The slow moving lines are in the lower three voices with a kind of ‘pleading ‘ answer in the upper voice. So, in a sense, what I’m doing is a kind of augmented reprise of the third variation. With the 5th variation provisionally in place, I began the next section which has yet to get off the ground.
Friday:
The last section of the bassoon quartet piece is beginning to take shape. Now evan  slower imitative entrances  in the four instruments come together in chordal statements. I can now foresee the final
portion of the piece comprised of three moving pieces: 1. A walking bass line in the lowest instrument. 2. Intermittent ‘punched’ chords in the inner voices, and, 3. A final modified statement of the lullaby. I hear it being broken up into a few choice statements. We’ll see how things go tomorrow.

The opening section of the sax choir piece seems to be changing drastically from day to day. This now seems to be the new normal. I end a session on the piece feeling hopeful until the following day when I choose  to scrape the whole thing. There’s an array of criteria that go through my mind, but basically, it’s a gut reaction.Yes, Now I’m hopeful about the the current effort but.....

Saturday: 

I feel I have what’s turned out to be the 6th variation is working to my satisfaction. The final variation does begin with a steady walk, but in the third bassoon’s middle range rather than the 4th bassoon’s lower range. A broken version of the lullaby melody would seem to work along with the walking accompaniment, but I can’t seem to find a role for the inner voices. So as weeks go, this was a week of mixed blessings.
Next Week: Ritornello for tuba solo

Bassoons and Saxophones, oh my!

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Monday: 

Today I was able to complete the third variation of the bassoon quartet. I pretty much stayed with the formula of three steady, harmonized voices in staggered entrances against which was an obbligato solo voice. For the next variation,I anticipate writing a kind of punta beat as it’s basis. A ‘punta’ is a very popular genre in Honduras.

In the mean time, I’ve must of had over a half dozen starts and stops to the sax choir piece. Currently, I’ve been taking a more progressive direction. Now the piece begins with slow, repeated high notes in the soprano saxes. They seem to squeeze along in slowly descending dissonances. I envision some sort of ‘whining’ melody in the alto saxes. Perhaps an entrance of dense block chords in counterpoint?

The trumpet/marimba piece is still an iffy venture in my mind. Some portions of the work, such as the beginning of the piece, establish a nice, peaceful patter which I think is quite affective. The quicker second section of the piece seems at times a bit stilted and contrived. Currently, I’m working on a cadenza section in the trumpet. Here, I think the instrument seems free from the constraints of interacting with the marimba.

Tuesday:

The ‘punta’, when performed by Honduran artists really flies! So an initial challenge of writing the 4th variation is establishing the right tempo: too slow and it loses its drive; too fast, and it might be too much of a challenge for the bassoonists. The basic punta rhythm looks like this:













But I modified it to go like this:













Wednesday
This morning I made some inroads into the 4th variation. The challenge is getting just the right balance of repetition and change. I’m trying to accomplish this by periodic rhythmic shifts and subtle modulation of harmonies.

The saxophone choir piece has now settled into a slow moving mass of whines’ in the soprano saxes and wailing leaps in the alto saxes. As is always the case, the slower the piece, the greater the challenge to the composer’s technical skills. So, that explains why the writing process is so SLOW GOING.

The trumpet/ marimba piece has emerged from a trumpet cadenza to a return to the marimba ‘patters’ and angular trumpet lines. Somehow I’m still sticking with the piece.

Thursday:

I continued to make headway on the bassoon quartet. In addition to the shifting rhythms and harmonic subtleties, I moved down the melodic  interest to a lower voice and added a third layer to the harmonic accompaniment.

The slow moving whines and wails continued in the sax choir piece. Writing in this manner, with just a handful of pitches has been a tedious process. I’m about a minute and a half into the piece and still haven’t introduced  the tenor and baritone saxes.

Saturday:

I completed the ‘punta’ variation this morning and began work on the 5th variation. So far it’s darker in character. I’m not sure whether to make this more of a transition section rather than a variation with the theme hidden in some way.I’m feeling as if this is the penultimate portion of the work that will lead into the final variation.

The sax choir piece is turning out to be one of the most contemporary sounding works that I’ve written in a while. Now the whines and wails in the upper voices are joined by moans in the lower voices. After a pause, a new section begins initiated by  the lower saxes who proceed in a slow tangle.

The Bassoon Quartet is on its way!

 

































This morning, I resumed work on the bassoon quartet. My initial trajectory for the piece changed as I set out to write the piece. I’m thinking it best to focus on 2 things: 1. The ensuing possibilities drawn from the theme (a Honduran folk lullaby) and, 2. The idiosyncratic possibilities inherent in the bassoon quartet. I think the text thing at the end and its political overtones is a bit over the top. I might be able to get subtly political in the way I handle what’s on my compositional pallet
Later this morning, I’ll probably return to the trumpet/ marimba piece. At this stage in the work, I’m focusing on lines and configurations in the two instruments that should pose a challenge to both players.What I’m attempting to do, I suppose, is to appeal to the academic musician’s desire to inspire their students and impress their colleagues and department heads. I don’t suppose that is the purest artistic endeavor on my part but it is an intriguing challenge nonetheless.

Tuesday:

I must confess: Writing a piece in theme and variations form is a bit like cheating. Especially when you’re dealing with a beautiful existing melody. With an established melody to work with and an inherent form already in place I’m well on my way. I’ve completed the theme and one variation. The theme begins with a solo bassoon and, after a couple of phrases, is joined by the other bassoons. The first variation presents the theme still intact accompanied by a combination of counterpoint and lush harmonies. When the second variation begins,there’s a sudden shift to a quicker tempo and minor key. The theme is now a ‘cantus firmus ‘of sorts set against parallel running notes in the other bassoons

Thursday:

Yesterday, I hit a snag in the second variation of the bassoon quartet. The challenge was to keep the running notes flowing without sounding too repetitive. I tried nuancing the harmonies as well as the voicing and register choices. Later this morning, I hope to close out the second variation and start on the third .

The sax  choir composition finally seems to have some direction. I think I finally solved the issue I’ve been struggling with regarding how to proceed after the opening statement. This was  primarily by register changes and tweaking of the harmony.

Friday:

I made some progress towards reaching the end of the second variation of the bassoon quartet. How I proceed from there is unclear.So far the pattern has been slow- fast....

Later during my morning session, I completed the second variation. It works out being four tidy phrases interspersed with chromatic falls.

Saturday:

I intuitively set my tempo to ‘slow’ in the third variation of the bassoon quartet. So, just as I suspected, I’m setting up a slow- fast-slow- fast sequence here. The third variation consists of a chorus of three set against a solo obbligato.

And then there’s the sax choir piece! I’ve prettying much abandoned the rising note theme. Then, earlier in the week, I tried out a bluesy idea. It seems the  piece didn’t know whether to swing or move in straight eighth notes. So today I hit upon an angular, staccato pattern in the alto and tenor saxes. It seems to have a clarity and bite to it. Let’s hope this finally takes hold.

 

Blog 2 Oh Saxophone Choir!

 

Monday: 
It might take days or even weeks to get a piece off the ground. A piece might start out strong but after the opening statement, seem to loose its luster. And then, I often ask myself: ”Now what?" Such is the case with the saxophone  choir composition I’m currently working on. The piece begins with an ascending stepwise tune creating ‘blurred' harmonies in its wake. The opening statement ends with a full, sonorous, chord. So far so good. Now I try a kind of chant like melody in the tenor saxophones with a less than compelling harmony in the baritone saxophones. I try voicing the chords in other ways, adding or subtracting instruments, changing textures. This morning I tried sustained polychords moving as a block together. But this afternoon the section seemed out of place.I think a milder set  of repeated chords set in lilting rhythms might just work.
Meanwhile, I worked on a handful of measures in the trumpet- marimba piece. In this piece, It seems as if I’m writing the same material I’ve written before. If I can inject some of the unexpected into the piece as I do with the solo tuba piece , I’d be headed in the right direction.

Tuesday:

Remember the lilting repeated chords in the saxophone choir piece? Well that didn’t work out for me either. Today I tried a simpler, more succinct approach: a three note harmonized statement in the soprano and alto saxes answered by a varied version of  the opening stepwise tune in the baritone saxes.Nope. What’s more, I’ve committed these few measures to memory to the point that be it has become an ‘ear worm’( a tune that keeps repeating itself in one’s brain for hours a a time.)

Thursday:

Prompted by an email from Cassandra of the Luftbassoons, I  began to ponder a plan for a new bassoon quartet piece. I’m thinking of doing a set of variations based on a Central American Folk song). The piece will have political overtones.
Later in the day, there was an email from Elena Galbraith of the Nota Bene Trio. She said  the group is slated to perform my Dorothy Parker Songs on a concert series next fall. Since the concert had its focus on the Algonquin Hotel scene (a literary circle, which includied  Miss Parker, that convened at the hotel) she thought a few more settings of her poetry were in order to round out the program. It’s always a better compositional situation when someone asks you to write something rather than writing something on ‘spec’. 

Friday:

I came upon a lovely Honduran Lullaby that, in my estimation, is a quite suitable theme for the bassoon quartet. I can already hear it being song by a solo bassoon with the other quartet members being the strum of  the guitar. As the work develops, I can hear the theme slowly being mocked and overtaken by hostile textures and configurations..... Finally, the theme returns with a solo bassoon along with spoken interjections of text by the three other quartet members. It’s nice to make these projections, but usually my initial thoughts go by the wayside as I grind things out in the composition process.
Afterthought:

As things stand.. the sax choir piece finally began plowing ahead. I finally arrived at a combination of chant-like melody, 'blurred' harmonies, and full sonorities. Oh saxophone choir!

 

 

Blog for 9/31

Wednesday:
Today my session started with a return to the ‘ Horn Quintet’. I still need to come up with an appropriate title for this work. Maybe something in regards to how the heat of a desert summer seems to envelop you, or something to that affect.
I wrote the work about a year ago but it was one of those pieces I wasn’t quite sure of. I finally got around to sending it to a hornist friend who thought the piece was ‘cool’ and to send her the parts. Upon reviewing the piece I thought things needed some revising. There was an effective, smooth-flowing section in the strings toward the end that seemed to end too soon. So I decided to write an extension to that part . At the end of my time with the piece today, I sensed it was nearing the transition to the final section, of the piece...’
Next I worked on the trumpet- marimba piece.It’s my intention to keep the piece moderately ‘abstract; enough to come across as ‘modern’. Will this work appeal to trumpeters and marimba players? I really don’t know. The piece,I think, starts out effectively with the gentle purr of the marimba. I sense the piece is losing its ‘challenging ‘ aspects and falling into a rut. I’ll ‘sleep on it’ and see what happens tomorrow.
My daily session concluded with some time devoted to the sax choir piece.
Thursday:
It seems as if I’ve finished the horn quintet. I’m thinking of calling it ‘Passing Ships’. In a nutshell It’s about watching the ships go by on Puget Sound although it is actually more personal than that.I know this is an about face regarding the heat in the desert idea. Music is an ‘abstract’ art ,and I’ve learned long ago that interpreting music verbally is very allusive. In any event, I brought the smooth- flowing section to its conclusion and did a sudden pivot to the final da capo . Prior to this revision, the da capo began with just solo horn but I chose to add slow string glissandi as in the beginning. It seemed to me an effective move that gave the section more heft. From that point on there was no need to make more changes.
I revisited the trumpet marimba piece. A form for the work seems to be beginning to take shape; slow- fast perhaps? A change of pace in the marimba with a return to a written retard of repeated notes.
The sax choir work I spoke of previously is one in a series of ‘choir’ works for different families of instruments. So far I’ve written pieces in this genre for flute choir, clarinet choir and trombone choir. So far the only luck I’ve had is with the flute choir piece that is to be performed this fall by a group in Washington D.C. The sax choir piece is the most ‘choral’ of the works. It features gentle conjunctive movement peppered with fleeting dissonances.

Finally, there is a solo tuba piece that I hope to get back to in the next day or so. Here I’m using ‘measureless’ notation which seems to be freeing me up to take more chances. And, as things go, the piece seems to be taking some interesting twists and turns. As with the trumpet marimba piece, the form wasn’t predetermined but seems to just fall into place as the piece progresses. I see the form of the tuba piece so far as: ABAB maybe a conclusive C.

(Horn Quintet midi recording before revision)

Work in Progress: Clarinet and Piano piece

Perspective 2 for Clarinet and Piano

My Perspective 2 (working title)  for clarinet and piano, has seen several reiterations: sparse and gentle, strident and boisterous, minimalist, to name a few. I’d finally settled on a series of preludes ( variations?.)These preludes seemed to unfold from one to the next serendipitously. As things turned out, I wound up reworking a few of the discarded earlier starts.

At the beginning of the piece, the segments are in stark contrast to one another: fast,slow,fast etcetera. The work begins with quick, configurations in  the clarinet.This is followed by very slow repeated clarinet pitches.

If I were to sum up each and every  prelude in a few words, it would look like this:

  1. Hastened, with clustered harmonies
  2. Uneven pulse, sustained
  3. Manic, rapid
  4. Slow, sorrowful
  5. Crafty, elusive
  6. Sustained, sorrowful mashup
  7. Serpentine dialogue
  8. Serpentine, falling gestures.

As things stand, the piece is nearing it’s completion.I foresee being done in 2 or three more preludes.

Here is what the opening looks like:

 

Work in Progress: Horn Quintet

As things stand, my horn quintet will be a work in three movements. So far, the piece is a little more than a third of the way done.
If Structured in terms of tempo, I foresee the entire piece looking like this:
1.slow-fast-slow, II.moderate,III. fast-slow (or slow fast)

Barring any last minute revisions, the first movement is in place.
In the opening, or more aptly termed ‘introduction’,slowly swirling chromatic configurations in the strings cluster together in a kind of ‘knot’.This serves as an accompaniment to the horn.Here the horn stands out by conveying an angular, stately line.
The fast section continues this association between the horn and strings but with driving rhythms. In the course of the movement, a series of these ‘knots’ seem to alternately cluster and loosen up.
Prior to the conclusion of the movement, is a solo horn interlude..
In the middle movement, the horn appropriates some of the chromatic configurations of the strings. The string writing here is more open and airy..

Looking ahead I foresee sizable stretches of pulsing rhythms in the strings against which are set against punctuating repeated notes in the horn.

In a few weeks, I will provide an update of the work. Here is a sample: