"Reminiscing Our Unfathomable Liaison Amoureuse"

FULL INSTRUMENTATION

• Piccolo, Flute 1-2, Oboe 1-2, English Horn, Clarinet in Bb 1-2, Bass Clarinet, Bassoon 1-2;
• Horns in F 1-2-3-4, Trumpet in Bb 1-2-3, Trombone 1-2-3, Bass Tuba;
• Celesta, Glockenspiel, Harp, Orchestral Percussion (3 players: Bass Drum, Piatti, Suspended Cymbal, Timpani, Triangle);
• String section: Violin 1, Violin 2, Viola, Cello, Contrabass.

NOTES FOR THE PERFORMER

The composition 'Reminiscing Our Unfathomable Liaison Amoureuse' is a short tone poem for symphony orchestra. It has the subtitle Valse triste for orchestra and is in 3/4 time signature. This piece has the form ABAB with introduction and coda:

• m. 1-18: Introduction, 80 BPM. The main key is F major. Con sordino strings set the mood, with clarinet and first horn phrases announcing the ascending chromatic main theme character.
• A flute plays the melancholic main theme in [A], m. 9. Phrases from this theme are picked up by the horn. Strings (mutes off in m. 24) provide a sustained background, with moving inner parts. In [B], m. 30, the second theme statement is for trumpet.
• The countersubject, for flute and trumpet in [C], m. 39, is derived from the main theme. The tempo is slightly higher (108-112 BPM) and the local key is Am. The dolce waltz groove is supported by pizzicato lower strings. During the second statement for trumpet and violins in [D], m. 47, there are ascending arpeggio patterns in woodwinds and celesta. A new countermotif, played by first flute, oboe and glockenspiel, will return in transitions and coda. Transition section [E], m 59, is a tutti climax, based on the main theme a-phrase.
• The main melody returns in [F], m. 67, set for G string violins, in the original tempo and key F major. The background is now enriched with ascending imitative 16th note patterns for woodwinds, harp and celesta. In section [G], m. 77, the main theme a-phrase is developed into a tutti climax.
• The second theme returns in the somewhat faster waltz section [H], m. 86, now for horn and trombone in parallel octaves and in the key of Dm. In the background there is a three-part setting for high woodwinds. This rhythmical background idea is repeated by muted trumpets over the second half of the theme, with a lead for English horn, horns and violas. The second statement in [I], m. 94, moves to the key of Bb minor and is for flute, trumpet, and violas. The countermotif is for oboe, clarinet, horn and glockenspiel, while violins play 16th note groove patterns throughout (occasionally copied in woodwinds). Section [J], m. 106 is a transition, using a lower pedal point (tremolo celli and contrabasses), and quoting the main theme chromatism and countermotif arpeggios. This miniature development leads to another tutti climax in [K], m. 119.
• The coda starts in [L], m. 134. The chromatically ascending phrase from the main theme is set for brass and then is handed over to the violins (first tremolo, then sustained notes). As these raise into the higher register, there is the countermotif in woodwinds and pitched percussion (harp, celesta, glockenspiel). The piece closes with upper strings reaching the highest pitch, descending woodwind phrases and three sustained brass chords.

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