The Gods of Pegăna (A Suite from the Tone Poem for Orchestra; Mov. I-VII, X) by Jason Thorpe Buchanan is based on a 1905 fantasy/alternative creation novel of the same name by Irish author Edward J.M.D. Plunkett (Lord Dunsany) that proposes: "There are in Pegăna Mung and Sish and Kib [the gods of death, time and life], and the maker of all small gods, who is MANA-YOOD-SUSHAI, who made the gods and hath thereafter rested. And none may pray to MANA-YOOD-SUSHAI but only the gods whom he hath made. Because he was weary after the making of the gods, and because of the drumming of Skarl, did he grow drowsy and fall asleep. But at the last will MANA-YOOD-SUSHAI forget to rest, and will destroy the gods whom he hath made. And there shall be only MANA-YOOD-SUSHAI. But, when at the last the arm of Skarl shall cease to beat his drum, silence shall startle Pegăna like thunder in a cave, and MANA-YOOD-SUSHAI shall cease to rest."- from Ch. II-III
Orchestra 2(d1Alt)+Picc, 2+Cor, 2(d1Bass)+Es, 2+Contra, 4-2-3-1, Str, Hp, Pno, Timp., 3 Perc.
40 Page Score - 11x17 bound booklet; plus a full set of parts (rental only); 10-11'" duration
Regenerations (2007-2008; Rev. 2009) is a colorful work for full symphonic orchestra in which a simple five note motive becomes the basis for nine contrasting variations. Throughout the piece, the musical elements stated in the first variation are continually intertwined and developed to create an evolving sonic tapestry. In the midst of this regenerating musical material listeners will be exposed to many different textures. At the opening long brass lines are placed upon gentle string chords, while in other sections wind chorales and canonic lines slowly build to form rich polyphonic textures. In the most energized moments long singing lines in the woodwinds and brass are placed on top of rapid pulsations in the strings, while the harp, piano, and a large percussion section are continually utilized to augment the orchestra's colors.
Overall the work slowly evolves, winding in and out of various musical regions and exploring different areas of harmonic stability and musical tension. Only at the very end of the piece do the musical ideas finally come into full counterpoint with one another, at which point the evolution of the regenerating motives stops and the piece builds to a final, triumphant, tutti ending. - D.T.
Rolling River (2009) is a work for symphonic orchestra which mixes ideas of orchestral overtures and tone poems. Unlike conventional tone poems this work is not strictly programmatic. In fact, it began without a title and only after completing the opening string chorale did the idea of a flowing river come to mind. Still, this work is more emotional and narrative like a tone poem than exciting and thematic like an overture, and in completed form (loosely A-B-A-Coda) does suggest specific extra-musical imagery which coincides with the title. For example, as the opening string chorale builds it is easy to imagine a gentle stream that is gradually moving towards a larger river it will intersect; as other instruments enter, the listener has the impression that the small stream is gaining momentum. After that, the stream intersects a larger river and the water crashes through violent rapids, depicted musically through the percussion cadenza. Coming out of the rapids the river continues to move quickly, carving a winding path through various landscapes and terrains. Eventually the river begins to flow very fast, as signaled by the continuous metric acceleration of the orchestra, and after a brief calm in the current depicted by the harp, piano, and trumpet, the river rushes on until cascading over rocky cliffs as a vast waterfall. After this climax, the music subsides with a recapitulation of the opening string chorale, and in the work's final moments the distant sounds of the piano and harp calmly fade into silence, suggesting the metaphor of a gentle river which flows on inevitably and interminably. - D.T.
