Infernal Whispers
Peter W. Knell
About this work:
Infernal Whispers was composed between November, 1995, and May, 1996. It was first performed on December 2, 1996, by the University of Texas Wind Ensemble, conducted by Jerry Junkin.
The piece is cast in two movements, the first of which is a slow, intense passacaglia. After an explosive introduction, the passacaglia theme is introduced in the contrabassoon as the introduction gradually evaporates above. Successive entrances of the theme appear transposed to successive notes of the tone-row. Halfway through the passacaglia, the entrances of the theme begin to overlap, forming ever-tightening mensuration canons. This builds to an intense climax which heralds in the conclusion, a varied restatement of the introduction, but in reverse order.
The second movement begins by resolving the last chord of the first movement, at the same time introducing a new rhythmic motive. An eerie rumble ensues, occasionally punctuated by hints of the initial rhythmic motive. Above, the piccolo introduces a lyrical melody. This gradually builds and gains momentum, culminating in a return of the rhythmic motive, which is now juxtaposed with two new ideas: a disjunct triplet line and a nervous hovering figure. The rhythmic motive returns in a greatly expanded form to bring this section to a close. A contrasting section ensues, in which the bass clarinet and piccolo state the lyrical motive against an ostinato in the marimbas. Next the tuba, euphonium, and first horn state the lyric melody in mensuration canon, accompanied by a mysterious shimmer in the winds and piano. A false climax brings back the rhythmic motive, but now quietly and in an eccentric orchestration featuring woodblocks, cowbells, and muted trumpets. Three statements of the triplet figure bring this section to a close, initiating an ostinato in the piano based on this very figure. Against this, the hovering figure and lyrical theme return, punctuated by hints of the rhythmic motive. This builds with ever increasing energy to a virtuosic tom-tom solo and finally to a climactic coda based on a final expansion of the rhythmic motive.
Year composed: 1996
Duration: 00:11:00
Ensemble type: Band:Wind Ensemble
Instrumentation:
Instrumentation notes: requires 3 oboes and 3 bassons (with doublings)