So, as of yesterday, Letter To Hungary is now out the door, delivered electronically to a printing store in Budapest. (See, I keep telling people: the internet is good for some things.)
Turns out, generating parts using Sibelius 4 has not been the Hamptons clambake I’d anticipated based on the hype. (Don’t get me wrong; I loooove Sibelius.) Also, the piece is so busy that for the first time ever, I’ve had to deliver a set of parts without a solution for every pageturn problem. I’m not an orchestral player or a professional copyist, so I simply couldn’t figure out how to get it done. Tips and tricks are welcome here.
Here’s a first pass at some brief program notes. I’m not sure it says what I need it to say. It’s hard to step back from it after three months wading in it waist high. Comments?
Categories:Since even before living in Budapest in the early 1990�s, I have loved Hungarian music for its enigmatic melodies and infectious rhythms. With Letter to Hungary I’ve taken the opportunity to explore what can be achieved by mixing these elements with my own style and sensibilities. This is a playful piece, in which Hungarian rhythms and instrumental styles appear unexpectedly and then recede into the background. Although most of the material is original, my hope is that the Hungarian listener will be convinced he or she has heard these tunes before.
The emotional core of this 15-minute piece is the well-known folksong Mad�rka, mad�rka, in which a little bird is asked to deliver a letter home to the singer’s beloved Hungary. To me, this suggests someone in exile, living outside Hungary against his/her will, and so it’s a song about homesickness. Fragments of the tune are woven into the texture of the plaintive, chorale-like introduction, and it becomes the main focus of the slow middle section. The final minutes consist of a vigorous scherzo that eventually becomes a gentle backdrop for one last majestic statement of the mad�rka theme, culminating in a wild cs�rd�s coda.
