Classical Music | Orchestral Music

Recorded on 08/04/2006, uploaded on 03/23/2009

Musician's or Publisher's Notes

About Symphony in Waves, Kernis says:

"Prior to writing this work in 1989 I never imagined I would write a symphony. It seemed such an outdated and irrelevant form. But in the early 1990s I became excited by the communicative potential and the highly varied ideas and emotions latent in traditional forms. I hoped to discover what 'symphony' means to me, to define the form for myself, by bringing my own experiences and passions to it. Since that time I have written many works of symphonic scope, and at present am working on my Third Symphony for voices and orchestra.

"I was not dealing with waves in a strictly programmatic sense. I thought about waves of sound in addition to those of wind and water. Each movement uses some aspect of wave motion: swells and troughs of dynamics, densities, and instrumental color: the 'sounds' of light broken into flickering bits by water's action."

In the first movement, "Continuous Wave," the strings open with constantly-repeated patterns that represent one kind of wave. The use of repetition with slight changes is Kernis' legacy from the minimalist school of Glass, Reich, and (sometimes) Adams. From the wave motives, a string solo emerges, first cello, then violin. A more rhythmic, pulsing section brings in the rest of the orchestra and intensifies the waves. A horn call repeats simple triadic patterns; the texture and sound change with the addition of scurrying woodwind motives: smaller, lighter waves. We hear more from the brass, and from the keyboard and the percussion players. The return of the earlier string theme signals a varied recapitulation: its lyrical sound is now surrounded by ongoing waves in the other sections of the orchestra. A big brass climax, more wave patterns in the strings, and a scale-like concluding theme that ascends from the lowest to the highest ranges of all the orchestra's instruments: it dies away, and the "Continuous Wave" has ended.

The second movement, "Scherzo," opens with twinkling, chirping motives from soloists of the violin and viola sections, divided into several intertwining parts. The winds join in, the brass contributes a fanfare for contrast. The sound here is a strong contrast to that of the first movement: these sound waves are broken up, perhaps scattered by a strong wind. At first it seems that there are no distinctly recognizable themes, but as blues chords appear beneath solo cello and bass clarinet it gradually becomes clearer that the opening string fragments are being developed and riffed on. This passage is followed by a brass-and-winds interlude and a return of the opening string solo ideas placed in a new tonal context. The movement ends in a sudden blaze of honkytonk.

Kernis has described "Still Movement," the symphony's central and longest portion, as a cresting tidal wave, but it is one that seems to be in terrifyingly suspended animation. A fearful catastrophe is impending. The huge instrumental scream that opens the movement could also be construed as the threat of a flooding river, a tornado sighted on the horizon, a hurricane hurtling up the coastline. Chimes pound in the background of winds and strings playing in their high registers. The fortissimo stasis of this sustained sound is broken by a blast from the brass, followed by a string solo, mournful and wandering. The strings then have an echo of their main theme from the first movement; it sounds more ominous now, intense and slow-moving. The winds and bells pick the theme up, then we hear it from a solo bassoon. Changing the mood almost entirely is the ensuing flute solo, a kind of cadenza that provides an interlude of serenity: perhaps this is the eye of the hurricane. The mood and theme are picked up by the strings, but a huge roar leads us to a recapitulation, and to a return of the movement's opening terror, with the orchestra virtually in unison, punctuated by crashing percussion. It would seem the eye of the hurricane has passed over, and the storm has turned back upon us. Ascending motives in the brass, drum rolls, deep tones from the chimes - then the strings end the movement softly.

The very brief fourth movement, "Intermezzo," gives a sense of calm after the storm. Descending, diatonic string melodies offer sunshine, with sparkles from the woodwinds. It's as though we're hearing waves of light. Agitation returns at the start of the Finale, with disjointed motives that recall the texture of the second movement. Trumpet and strings are prominent and engage in bizarre, jazzy dialogues. A fanfare of repeated notes from the brasses leads to a more lyrical theme that emerges in the strings, who soon switch to pizzicato playing to build up to another brass fanfare. An ascending theme, shared by the full orchestra, builds up sheer waves of sound. This is followed by a big climax, short scattered motives for winds and strings, some assertive outbursts, a constantly-repeated three-note motive, and the sudden punch of the final chords.

Symphony in Waves is about waves of various kinds, but it's also about pure sound - a master craftsman is exploiting all the possibilities of the modern symphony orchestra.

To purchase the CD or download this performance, click here.

Cedille Records is the recording label of The Chicago Classical Recording Foundation, a publicly-supported, not-for-profit, organization devoted to promoting the finest musicians, ensembles, and composers in the Chicago area by producing and releasing their efforts on audiophile-quality recordings. The recordings and their promotion are designed to stimulate interest in these performers and composers and bring their artistry to a wider audience. Cedille Records is also dedicated to promoting interest in neglected areas of the classical repertory by presenting masterpieces that have been overlooked by other recording companies.