Symphony No. 2: Tales from the Realm of Faerie

Below are demo recordings (virtual, but very realistic in sound) for the four movements of my forthcoming symphony, scheduled for release by Parma Recordings in late 2022. I have only temporarily created video images which enhance the mood but do not necessarily imply a specific story associated with the music. They are just for fun and will go away when the album is released. The movements last 12, 10, 10, and 13 minutes for a total duration of 45 minutes and are written for large symphony orchestra (3333 / 4332 / Timp., 2 Perc./ Hp./ Pno-Cel./ strings 18-16-14-12-10). Here is the program note for the symphony, then scroll down further and click on each of the video windows to hear the work.

Half-size Final Cover Art

This symphony’s subtitle, “Tales from the Realm of Faerie,” (“Faerie” being the archaic term for Fairyland) calls forth in my own imagination a kind of rich musical tapestry intertwining all the colors and scenes of many fairytale worlds I have loved. I conceived the work as a fantasia of fairytale impressions in sound, spinning out like golden threads from a magical, musical spinning wheel. I have no particular fairy story in mind but rather hope that childlike ears might simply lose themselves in this world, as would a child hearing fairytales being read aloud – in swashbuckling fanfares, love themes, pointillist fairy dust, the surprising appearance of an evil sorcerer, music for a grand ball at a castle, or anything else one might wish to imagine from one’s own storehouse of fantastical dreams, whether concrete or completely abstract.

However cinematic such images might sound, this symphony remains classical in its technique, with large-scale traditional forms, multifarious contrapuntal textures, classic voice leading, developmental sections, and modulating key schemes reminiscent of the late Romantic and especially early Twentieth-century symphonists. Beyond fairytale imagery on the surface, I hoped to capture the deeper spirit or tone of unspoiled beauty, innocence, nobility, heroic goodness, and hopefulness associated with that literary genre.

The first movement is in sonata form. The main themes of the second movement are in an ABA ternary design, but with each part preceded by the same (though varied) introductory music. Movement  three is also in an ABA design, with a quicksilver scherzo in the outer parts framing a two-themed grand ballroom waltz part in the center. Movement four has a unique form that is like a large rondo but with an altered design, ABACBAC instead of the standard ABACABA, with four transitional sections connecting five of the parts.

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