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Please use this identifier to cite or link to this item: http://hdl.handle.net/1807/29833

Title: Burn for Full Orchestra
Authors: Pal, Jordan Matthew
Advisor: Kulesha, Gary
Department: Music
Keywords: Composition
Issue Date: 31-Aug-2011
Abstract: As the title of the work suggests, Burn brings to mind the qualities, characteristics and properties of fire: its volatile, destructive and unpredictable nature, and its often-overlooked sublime and evanescent states. Although I did not set out to programmatically depict the element in Burn, fire provides a metaphor for the compositional process. My objective was to compose a work that is harmonically and motivically rich, and where colour and character are of absolute importance. In turn, the work is explosive and unrelenting, with contrasting moments of subtler music. The complex and volatile personality of fire takes form right from the dramatic and combustible opening of Burn, through to the kaleidoscopic and mercurial textures of its developmental sections, its slow but catastrophic middle section, and its remorseless ending. And like the prodigiously agile nature of this element, I wanted to write a work that is engaging and virtuosic for its players. Burn is a single-movement work cast in three dramatic sections. The opening, spanning from mm. 1-24, establishes the musical material and sets the tone for the work. The music of the introduction gives way, at m. 25, to a developmental section, where varied forms of the introduction appear as structural delineators: mm. 68-71 to close the first part of the development, mm. 98-106 and mm. 131-136. The outer sections of Burn, mm. 1-136 and mm. 188-291, are fast and furious, colourful and nimble, and are similar to each other in character and content. The contrasting middle section, mm. 137-187, gives way to a different music, one that is slow and intense but shares motivic and harmonic attributes with the outer sections. The music climaxes at the return of the Tempo Primo, mm.166-187, with the defining motif of the outer sections superimposed at its original speed over the broad music of the middle section. Burn closes at the end of the third section with a varied return of the introduction.
URI: http://hdl.handle.net/1807/29833
Appears in Collections:Doctoral

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