Leviathan Experiment, Phase 3

My favorite Movement of my Leviathan Concerto now is complete regarding these “experimental” accompaniment tracks! Yippee!! **I LOVE this movement!!!**

Movement 3, “The Hunt,” is certainly a doozy, though! :mrgreen:

When completing this work for my graduate thesis, I was actually very concerned that I wouldn’t have a third movement ready in time. Being that the second movement was so very massive and intricate — and time-consuming! — I had considered that I may just have to make do with only two movements. I am SO happy I didn’t settle for that!

In spite of the fact that this movement was compiled in only two weeks (and under much panicked duress!), it was always meant to be a brief, fireworks-show of an ending (modeled after the Barber violin concerto). That’s certainly what it turned out to be!

It consists of two major sections: the first of which is a violent “conversation” between the percussion section and the electric instruments; the second a response from the rest of the acoustic orchestra. This first section is in a rollicking 10/8 meter (divided as 3+3+2+2), and the second section is an almost jovial sea-chanty in good ol’ 4/4. In the final moments of the movement, you’ll hear snippets from both themes being intertwined and passed back and forth throughout the orchestra…. What cracks me up, is that after all we’ve experienced in the first two movements, the mode (and consequently, mood) of this movement is neither explicitly in major or minor, but almost ambiguous… leaving the thrust of the action purely in the rhythmic turbulence!

There is a moment left open for a CADENZA in the solo electric violin part, too (you’ll hear the emptiness for now at 2:40 in the accompaniment track). Here’s a note about that from the Notes to the Performer in the score:

…the soloist should take note that an original Cadenza is to be executed toward the end the third movement. He or she may feel at complete liberty to construct a cadenza according to the soloist’s personal style and instincts. It is the suggestion and wish of the composer that the soloist utilize the wealth of thematic material already presented throughout the work up to the point of the cadenza’s appearance, but the manner in which it is presented is left up to the soloist; a long-held trill at the end – while not required – is a tried-and-true signal to the conductor that the soloist is ready to continue with the orchestra to the grand finale. This cadenza is in homage to both the traditional concerto style and to the typically improvisatory nature of the electric violin.

Cool, huh??! :mrgreen:

As I said, this is my favorite part of the work! But, going through this project of polishing up decent sound samples has made me greatly appreciate, and fall in love, with this massive concerto of mine. I truly hope to have it performed live or even recorded professionally at some point in the future!

…Coming up soon, I’ll be adding my own recorded tracks of the solo line to complete these sample recordings!…

In the meantime, here’s the accompaniment to the “The Hunt”!

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