Michelle Ende's Sym 1 C minor Op 11 Philosophical
The Symphony Number One is entitled The Philosophical and listening, even briefly to this work will convince the listener that the title is appropriate. This work attempts to capture the emotional and psychological experience of addiction and gradual growth to redemption and the finding of mercy within one's own heart and in the mind of the Almighty. Adagietto Con Fuoco is a particularly difficult movement to perform as the orchestra is at odds with itself. Constant discord opens and maintains this first section of the work. This work depicts a life under the extreme influence of addiction; the listener entering a dark world of torment, brief moments of clarity, and a new plunge into darkness. (19:13). Allegro Cantabile enters an ethereal place. The composer described this movement as an expression of the first time she smelled rain, upon getting sober. It is lyrical and loosely follows symphonic form. Elements of melody in later movements are generated here. (11:28). Allegro Grazioso returns the listener to the discord of the first movement, but in a lighter vein. Almost breaking into a waltz, the primary melody struggles with a more angular discordant theme as the movement attempts to gain momentum. (11:27). Allegro Maestoso is a grand breath of light and air. Almost an inhalation of life itself. The composer's notes depict a small girl in a white shift standing on her porch as sun emerges from storm clouds and recent rains. From the first movement's rejection of life, the listener has moved to the embrace of life itself in this wonderful movement. (4:16) Adagio Agitato Con brio brings this work, with the aid of the chorus, to a climactic close, ending in a powerful Kyrie; a request for the mercy of God upon the soul of the penitent. The movement proceeds directly from the fourth movement and begins with a muted trumpet and reminiscent orchestration and rhythms of the first movement, only more harmonious. As the work proceeds, climaxes are reached several times, ending in the final choral section. A marvelous work. (14:43). Orchestral Notes by Peter Stanislauw.