Candlelight
Faye-Ellen1 Silverman
About this work:
The idea of “Candlelight”, for piano and orchestra, originated as an expression of gratitude for those who helped or “lit a candle”. Gradually, though, this work evolved from other meanings of the title, since candlelight is a powerful universal symbol.
The piece opens with a candlelight procession (reminiscent of both political vigils and funerals), builds, then dissolves into darkness. Out of the darkness comes the light of a candle which, in Judaism, occurs on Friday nights to usher in the Sabbath – a day of joy. Thus exuberance follows, builds into dissonance, and disintegrates into emptiness. This is again followed by the lighting of candles, this time creating a brilliant flame encompassing the whole orchestra – a symbol of hope.
In addition to the unification by symbol (which forms an overall shape of slow-fast-slow-fast coda), the work keeps the same tempo throughout (the fast sections are exactly twice as fast as the slow sections), and follows a large-scale tonal scheme. C-C# in the opening procession (a half step, with the tritone as a secondary interval), dissolving, followed by C#-D# in the fast middle section (whole step with the fourth/fifth as secondary intervals), dissolving, followed by D-F in the hollow section (a minor third) then, with a B added (a minor third down from D) reaching a final resolution to C-E (a major third).
As with any concerto, the piano is used in many ways, from virtuoso playing (as it tries harder and harder to remain in control of the orchestra during the fast section), to simple chords, to a one-line melody. It both leads and blends into the orchestra as it reveals various aspects of piano technique.
Year composed: 1988
Duration: 00:16:00
Ensemble type: Orchestra:Orchestra with Soloist(s)
Instrumentation: 3 Flute, 3 Oboe, 3 Clarinet, 3 Bassoon, 4 Horn in F, 3 Trumpet, 3 Trombone, 1 Tuba, 1 Timpani, 2 Percussion (General), ,1 Piano soloist(s), 1 Strings (General), 1 Harp