Adhesions
Faye-Ellen1 Silverman
About this work:
(Commissioned by the Greater Lansing Symphony Orchestra, and dedicated to the orchestra and its conductor.)
According to Webster’s dictionary, “adhesion” may be defined as follows: “in medicine, the growing together of normally separate tissues”. This definition, in conjunction with aspects of sonata-allegro form (typical of the first movement of a symphony), provides the structure of this short orchestral work.
As in the Romantic era’s concept of sonata-allegro, there are three emotionally contrasting ideas; one that is angry, chordal, and “serious”; a second that is lighter, playful, and more consonant, and predominantly scored for winds; and a third, a slowly unfolding melody played by the trumpets (two of which remain off-stage throughout). Each idea is modified, and sectional differentiations are made less distinct, until the three strands are fully joined and all tension is dissolved. The use of resolution of tension to end the work comes from sonata-allegro form, but the means – that is, the specific ways in which melody, harmony, dynamics, and tempi are used – does not.
For instance, there are several chords that are used repeatedly. Most of these chords are presented in the introductory section. The three most frequently heard chords are all dissonant, but all contain B-F# (the dominant of e minor). The most prominent of these three – the first sound of the entire work – is a dissonant chord which, by the end of the composition, has stripped away its non-harmonic tones to reveal a consonant core – an e minor chord.
Year composed: 1987
Duration: 00:12:00
Ensemble type: Orchestra:Standard Orchestra
Instrumentation: 3 Flute, 3 Oboe, 3 Clarinet, 3 Bassoon, 4 Horn in F, 3 Trumpet, 3 Trombone, 1 Tuba, 1 Timpani, 1 Piano, 1 Strings (General), 2 Harp, 2 Other Percussion Instrument(s)