Symphony No. 1 & Other Works

Alexander Negerevich began writing Symphony No. 1 in September 2007 at his home in Stanthorpe, Queensland, Australia and completed the four movement work after a prolonged illness in late 2008. The four-movement work aims at exploring the relationship between tonal and dissonant harmonic structures. The tonal elements of the Symphony contrast against the dissonant subject material, creating an almost ‘love-hate’ relationship. The First Movement (Moderato) begins with a melancholic theme doubled by oboes and trumpets. It is accompanied by underlying semiquaver woodwind passages that give way to brass and string flourishes. After a brief pause in the strings and horns, a short rhythmic figure is announced by the first trumpet and mimicked by other brass and woodwind instruments. This motif is explored and soon joined by slow ascending and descending glissandos in the upper strings, followed by horns. This is accompanied by similar glissandos in the lower strings. English horn and oboe then follow with brief lyrical melodies that give way to a new subject announced by the 1st and 2nd Violins. A triplet motif hovering on the same pitch appears above the strings and leads to an echo-like figure punctuated by the brass. Another detached three note rhythm is played by the 2nd horns and copied by various Wind and Brass instruments which leads into a crescendo chord with an underlying timpani roll that announces the Allegro Vivace. A change of key signature at this point, introduces dramatic string passages that are interplayed between Woodwind and Brass flourishes. After some jostling between parts a small fugue develops between opposing String voicing that eventually lead to a high pitched 4 note semitone cluster that is soon released by another new String triplet motif which soon leads to a brief Moderato section where the 1st Oboe nonchalantly remembers the opening theme of the Symphony. Immediately, the Allegro Vivace is then re-introduced and hurries towards a dramatic finale, with Timpani hammering along in high gear. With virtually no pause the Symphony progresses into the second movement (Adagio) by a long held sustained note introduced in the bass clarinet. Immediately, a five note bird-like motif, which is developed throughout this entire movement, is announced by the English horn. With continuous obstinacy this motif is re-introduced many times by different instruments. A second melodic motif is played by the Clarinet with a same pitch triplet that often is interrupted by minor second clashes in the background, that again argue between consonance and dissonance. The movement progresses to a second dramatic flourish which finally gives way to a receding minor fifth fall in the strings followed by a small bass clarinet solo which dies away completely to nothing. The Third Movement (Moderato) is introduced by a chord shared between woodwind and strings that quickly leads to a chorale style Brass passage. Each individual String part then announces a Canon-type motif, played in a minor key which bears the sound of “burgeoning optimism”. When the lower strings finally take up the minor-theme, short triplet motifs are sounded by Flutes, Bassoons and Clarinets that lead to a long held Contra Bassoon and Timpani pause which introduces a delicate String tremolo section. After a “softly treading” pizzicato figure in the strings that accompanies French Horn solos, the Brass announce a new melodic figure which is expanded by all sections of the orchestra. An urgent crescendo leads to a loud spine-tingling climax within the movement. Lower Woodwind and Brass then develop a rousing Fortississimo, which drops in tension to a Flute flourish and English Horn solo. Finally the strings play a series of chords that are accompanied by Flutes and Horns which mimic the earlier pizzicato of the Strings. The fourth movement Allegro Moderato begins with an “urgent”, “pressing” motif announced by Horns and Trombones whilst Timpani rolls thunder underneath. Wind and Brass announce short thematic motifs that are strongly accompanied by rapid broken chord passages within the Strings. A two-bar Timpani solo leads into a slowly expanding crescendo, of small semiquaver motifs, played by the Strings to a huge climax. Towards the conclusion of the movement a slower tempo change occurs heralded by a long Bassoon note which is joined by a small Bass Clarinet solo, reminding the listener of the second movement thematic material. Gradually the musical focus changes into a punctuated dotted rhythm with rising triplet flourishes that culminate in a dynamic ending. The Lament on Shattered Lives was composed in 2007. It reflects the tragedy of daily life for innocent Iraqi citizens going about their daily business in the unstable environment post Saddam Hussein. Influenced by the daily news reports filtered through the worldwide media, the Lament depicts the atrocities committed by terrorists and extremists, bent on causing mayhem and destruction. Upon listening to one such news report, telling of the deaths of more than fifty people killed by a senseless act of destruction, the composition aims at reflecting the belief that no religion can condone the death of innocents for any reason, nor can any human justification be given for such barbarism. The Lament is composed for String Orchestra alone. Cellos introduce a melancholy five bar melody which gradually is taken up by each section playing the same theme. The work then moves into a forceful passage of suspensions. After a climax of repeated notes, the tension is released and then interrupted by a surge of dissonance that depicts the peace of daily life being forever interrupted by shattering explosions. Another tonal cluster with each section appears in two bar intervals and grows in intensity into a frenzied rhythmic attack. This climax unwinds into a fading, but ominous sounding duet between the cello and double bass sections. New thematic material emerges in the middle section, with the theme being enveloped by tremolo and counter melodies. After a second round of dissonant triplets, the original theme returns in a new key and fades to a peaceful ending. The Manhattan Requiem was composed on the very day American citizens and the world witnessed the tragedy of September 11th, 2001. The composition is a tribute to those Americans and individuals of different nationalities who lost their lives as a result of the terrorist attacks that occurred. The composition was originally conceived and written for Piano Quartet, but was subsequently reworked one year later for full String Orchestra with timpani in an expanded form. The work depicts the horror and tragedy of the day through long, drawn-out chord clusters with suspensions. The unison movement of the work portrays a chorale structure, reminiscent of a hymn. The work concludes with layered sections building towards a climax.