Poetic Reflections

5 "Tales" of Passion and the Macabre for Piano Trio - PNO, VLN & CEL: - The Raven - "Nevermore", "Lost Lenore" - Annabel Lee - "Angel's Envy", "Tomb by the Sea" - To Helen - "Beauty amongst the Roses" - Hop-Frog -"the Jester's Last Jest", "Hop-Frog & Trippetta Waltz" - The Bells -"Intro", Var. 1 -"Golden Wedding Bells", Var. 2 -"Silver Sleigh Bells", Var. 3 - "Alarum / Iron Bells", Var. 4 - "Bells, Bells, Bells", "Finale" These movements are impressions of the selected Poe works rather than attempts to musically summarize them. I term the musical style "Ultra-Romantic Expressionism" - an appropriately Romantic Classical tonal sound palette featuring vibrant dissonances befitting of the moody mind of the author. Opening with the 3-note "Nevermore" motif (cello), "The Raven" ponders the angst and ultimate fury of the narrator, who feels sorrow over the fate of his beloved, departed Lenore while taunted by an enigmatic bird that perches in his apartments. The woody taps of the string players' bows represent the "tap-tap- tapping" on the chamber door. Spiky, dissonant chords signify the persistence of the ebony-plumed visitor. Anxious musical elements bring us to breathless turmoil. The slow "Lost Lenore" section features a somber cello theme poised over the piano's deep, languid, unfurling clouds of chords. A violin interlude bridges this piece with "Annabel Lee", a gothic, romantic ghost story. A lover forever pines over the loss of his lady, blaming the jealous angels for tragedy. "Angel's Envy" describes the stormy cliff at the sea they frequented, while the eerie middle section, "Tomb by the Sea" explores the man's supernatural obsessions. Solo violin brings us to "To Helen". Contrasting the typical conception of Poe's works as grotesque, morose and macabre, we hear more hopeful major tonality. "To Helen" is actually 2 distinct poems of the same title. In one version, Poe extols her beauty effusively. In the other, he speaks about her in a rose garden at midnight, wondering about what was and what could have been. We now pivot harmonically to whole-tone and chromatic madness in "Hop-Frog" - a Hobbit-sized court jester famous for his wit. He and his lovely Trippetta, were kidnapped from another land to serve at the whim of a boorish king. When the king unwisely insults Trippetta, the jester contrives a unique punishment involving a chandelier and masquerade ball gone very bad! The music here is quirky and sarcastic. The 2 heroes ecstatically escape back to their country. The carnival-like waltz describes their celebration. "The Bells" evokes the emotions and rhythms suggested by the ringing of the various bells (tinkling silver sleigh bells, golden wedding bells, alarm bells, iron tolling bells). There is an Intro, 4 Variations and Finale ending in a cinematic, celebratory flourish. The final iteration of the "Evermore" motif in the last measures is extolled in a victorious, even hopeful manner. Listen for the "bells, bells, bells, etc," and the indefatigable "Nevermore" motif haunting throughout the work... mini-SCORES of this Trio are available from this webpage: http://www.richardaltenbach.com/poetic-reflections/ REVIEW : "... this piece is awesome! Demented, horrific, beautiful, virtuosic, and so much more. It’s pretty incredible, Richard, and so much fricken music. And an excellent use of all three instruments!" - composer, Rylan B.