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Join the Symphony in-person or virtually as they take the stage to perform Beethoven, Clyne, and Haydn.

In-person tickets Are now on sale.

Virtual Stage Access provides viewing the live performance from the comfort of your home. The stream access is available for one week after the concert.

 

Ludwig Beethoven
Coriolan Overture 

Anna Clyne
Sound and Fury

Franz Joseph Haydn
Symphony No. 60 in C major, “Il Distratto”

Scoring
 
Territory
This work is available from Boosey & Hawkes for the world.

World Premiere
11/7/2019
Queens Hall, Edinburgh
Scottish Chamber Orchestra / Pekka Kuusisto
Programme Note
 

Sound and Fury draws upon two great works of art for its inspiration: Haydn’s Symphony No. 60 (“Il Distratto”) and Shakespeare’s Macbeth. The piece was premiered by the Scottish Chamber Orchestra on a program that included this Haydn symphony.

“ll Distratto” incorporates Haydn’s music for Le Distrait, a play by Jean-François Regnard, so it seemed fitting to draw inspiration from both musical and literary sources for Sound and Fury. To begin, I listened to “lI Distratto” many times and on a single sheet of paper, I wrote down the key elements that caught my ear, which ranged from rhythmic gestures to melodic ideas, harmonic progressions, and even a musical joke (Haydn brings the feverish final prestissimo to a grinding halt for the violins to re-tune). I chose between one and four elements from each of the six movements and developed them though my own lens – layering, stretching, fragmenting and looping. Whilst experienced as one complete movement, Sound and Fury is also structured in six sub-sections that follow the same trajectory of “ll Distratto.”

In the fifth section of Sound and Fury I looped a harmonic progression from Haydn’s Adagio in “ll Distratto,” and this provides a bed of sound to support the delivery of “Tomorrow, and tomorrow, and tomorrow…,” the last soliloquy delivered by Macbeth upon learning of his wife’s death, and from which this work takes its title.

Tomorrow, and tomorrow, and tomorrow,
Creeps in this petty pace from day to day,
To the last syllable of recorded time;
And all our yesterdays have lighted fools
The way to dusty death. Out, out, brief candle!
Life’s but a walking shadow, a poor player,
That struts and frets his hour upon the stage,
And then is heard no more. It is a tale
Told by an idiot, full of sound and fury,
Signifying nothing.

The connection to Shakespeare’s play emerged gradually during the writing process, but especially after watching a recording of a 1979 masterclass with Sir Ian McKellen analyzing this soliloquy’s imagery and rhythmic use of language. Time lies at the heart of it – “hereafter … time … tomorrow … to day … yesterday …” and music provides us with this framework. The last line of this soliloquy (“Signifying nothing.”) is incomplete; McKellen explains “the beats of the rest of that pentameter are not there – because the end of the speech is total silence – total oblivion – total emptiness.” So rich in imagery and metaphor, I also found inspiration in Shakespeare’s rhythmic use of language. For example, before delivering this soliloquy, and after learning of his wife’s death Macbeth says, “She should have died hereafter; There would have been a time for such a word.” McKellen says: “There’s something about that line which trips – in Hamlet’s words – tick tocks like a clock.” This is something that I play with also – layering rhythmic fragments that repeat and mark the passage of time.

My intention with Sound and Fury is to take the listener on a journey that is both invigorating – with ferocious string gestures that are flung around the orchestra with skittish outbursts – and serene and reflective – with haunting melodies that emerge and recede. Thank you to the Scottish Chamber Orchestra, The Orchestre National de Lyon and Hong Kong Sinfonietta for this opportunity to delve into “ll Distratto” for the first time, and to revisit Macbeth.

Anna Clyne, 2019

 

Music Director Alastair Willis

Ernestine M. Raclin Chair, Burkhart Advertising, Inc., Holiday Pops Conductor Chair

 

Violin I 

Mark Portolese 

Acting Concertmaster

Elizabeth M. Cullity Chair

Azusa Tashiro

Acting Associate Concertmaster

Barbara K. Warner Chair

Anna Carlson
Acting Assistant

Jessica Bennett

Candace Thomas

Louisa Blood

David Visser

Jae Sung Lee

Violin II

Rachel Brown

Acting Principal

Irene M. Siberell Chair

Tamara Stojanovic

Acting
Associate Principal
Wells Fargo Bank Chair

Clara Woolley

Chris Milliken

Barb Arnold 

Deb Barker

Viola
Gabriel Schlaffer

Principal 

Anonymous
Patron Chair

Rachel Goff

Associate Principal

Barnes and Thornburg, LLP Chair

Rose Wollman

Matthew Barwegen

Cello
Lara Turner  

Principal 

Dorothy and Herbert A. Schiller, M.D. Chair 

Brook Bennett

Associate Principal

Peg and Robert O. Laven Chair

David Machavariani

South Bend Symphony Orchestra League Chair

Allison Chambers

Bass 

Edward Randles

Principal

Leo J. McKernan Chair

Victor Dome

Flute 

Leslie Short

Principal 

Christopher H. 

Wilson Chair

Oboe 

Jennet Ingle

Principal

Cushwa Family Chair

Lindsay Wiley

Clarinet 

Trevor O’Riordan

Principal

William Olsen

Dr. and Mrs. James M. Wilson Chair

Bassoon

Jill Dispenza

Principal

Jason E. Kramer

Horn
Kurt Civilette

Acting Principal

Jeremiah Frederick

Shirley and Joseph Hennessy Chair

Trumpet

Stephen Orejudos

Principal 

Linda and Bruce
Bancroft Chair

Christian Anderson

TIMPANI
Simon Gomez

PERCUSSION
Kent Barnhart 

Peg and Ray Larson Chair

 

 

Thank you to our generous series sponsors; Jack M. Champaigne Masterworks Series and  June H. Edwards Mosaic Series.

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