|
|
|
A Review of Christopher Schlegel's Symphony #1 in C Major G. Stolyarov II A Journal for Western Man-- Issue XXXII-- March 16, 2005 |
|
Christopher Schlegel’s first symfonic work is an elegant, enjoyable, tightly logical creation, permeated with a spirit of grandeur and heroism that presents a welcome alternative to the blandness of much of today’s esthetic culture. Mr. Schlegel created the Symphony #1 in C Major in 1994-1995, and used it as the first practical application of his unique symfonic style. Thus, both the context and content of the symfony are best summarized by his own recollection of it: “I think of a long journey filled with difficult obstacles that are in the end joyously and victoriously conquered.” This journey is steady, but not monotonous, and will present the listener with many intriguing experiences along the way. Movement 1: Allegro The symfony opens with a drum crescendo accompanying an ascending melody in the strings that is at first fragmented to create suspense. After the drums have played out their culmination, Mr. Schlegel continues the melody’s ascent, this time intricately interweaving brass and wind parts into it. After forty-five seconds, the listener encounters the movement’s theme, which will reappear numerous times in the future, often orchestrated in different ways and using different combinations of instruments. It is am uplifting major theme, exhibiting composure and an even tempo. Its multiple iterations but distinct orchestrations give the “journey” expressed in this movement both continuity and dynamism. Even there, the journey’s variety does not exhaust itself, as, two and a half minutes into the movement, the listener comes upon a minor theme, played primarily on brass instruments, also exhibiting a steadiness of rhythm, but encompassing much lower notes than the prior theme, and in a far grimmer mood. This part of journey is a challenge, and a fairly lengthy one (two minutes), but one which is overcome in a continual, undaunted effort. The mindset which overcomes it, as suggested by this passage, is not one of desperation or fear, but a calm, deliberate approach wherein one contemplates, “Hmmm… How shall I proceed now?” Subsequently, the major theme is again encountered in its many incarnations, and the systematic alternation of major and minor melodies continues throughout the movement. The final developments on the main theme are also involve the greatest number of instrumental voices interacting with each other in ever new patterns, as this movement ends on a note of hope, promise, and accomplishment. Movement 2: Adagio As its name suggests, this is a slower movement—perhaps a walk if the first could be compared to a jog. It begins in a soft, cautious minor, as if the hypothetical traveler sees the need to look around and tread carefully, all while suspense is established for what is to come as louder bursts of string notes occur with increasing frequency. Finally, the main melody itself transitions into the strings and gradually becomes more resolute and more expansive by the beginning of the fourth minute, with occasional parts in major. The tempo quickens gradually as the traveler becomes more self-assured. He has learned how to proceed and can thus accelerate his pace—an act that Mr. Schlegel effectively conveys by employing the versatility and dynamism of the string instruments as the driving force for the melody in this movement. There is a slight deceleration of movement in the middle of the eighth minute, as the strings gradually fade away until a complete pause. Then, cautiously again, the motion resumes, the melody dominated by the winds, as in the beginning of the movement, until it, too, fades away. The movement has come full circle. Movement 3: Presto In an absolute contrast to the second movement’s conclusion, the melody here is opened by an escalating brass fanfare which develops into a swift, joyous, confident main theme first carried forward by the strings, then integrated with parts for brass and percussion. As regards the “journey,” this movement is best described as a gallop on horseback, proceeding rapidly and steadily even when the theme is developed into its minor incarnations. The obstacles on this leg of the journey are analogous to hurdles to be leapt over in close succession, as especially demonstrated toward the end of the fourth minute, when there is a rapid-fire repetition of string notes that establishes the ultimate tension in the minor component of the movement and renders its resolution into the major theme logically inevitable and expected. An escalating fanfare concludes this movement, much like the one that had opened it. Movement 4: Fanfare: Allegro Con Brio This is the final leg of the journey, and opens with a resounding brass crescendo as multitudes of brass instruments reverberate and develop upon each other. They are soon joined by the strings as Mr. Schlegel layers further interplays of instruments on top of the prior ones. This continues until the end of the second minute, when another melody, a light and flowing one for the winds, is introduced and gradually woven into the melodic patterns characteristic of the prior parts of this movement. As the fourth minute opens, the listener encounters the triumfant, march-like theme that forms the backbone of this movement. This is by far the most determined, resolute component of the symfony, a hero’s approach toward a goal now in sight. Just as all one’s resources would be pooled together in one last effort to complete a journey, so does Mr. Schlegel combine all the instruments at his disposal to bring about a highly complex, coordinated, and integrated climax. This is a melody that wants to move forward, that presses itself onward into a sprint toward the finish line, and the listener will find himself mentally cheering it on along its way. This movement is the closest man has come to concretizing the fenomenon of sheer undaunted effort through auditory means. From his first symfony on, Mr. Schlegel has maintained a consistent appreciation for and depiction of the beautiful, harmonious, glorious, rational, triumfant, and heroic in his compositions. It is a pleasure to revisit him at the beginning of his journey and experience, via a profound intellectual connection, the products of an incipient great mind. G. Stolyarov II is a science fiction novelist, independent filosofical essayist, poet, amateur mathematician and composer, contributor to organizations such as Le Quebecois Libre, Enter Stage Right, the Autonomist, and Objective Medicine. Mr. Stolyarov is the Editor-in-Chief of The Rational Argumentator. He can be contacted at gennadystolyarovii@yahoo.com. Order Mr. Stolyarov's newest science fiction novel, Eden against the Colossus, in eBook form, here. You only pay $10.00, with no shipping and handling fees. Christopher Schlegel is a musician and composer of Objectivist convictions. He is additionally a writer of short fiction and essays, and a contributor to The Rational Argumentator and its store. You can also visit his website (http://www.truthagainsttheworld.com) and contact him by e-mail. If you are interested in purchasing a CD of Mr. Schlegel's Symphonies # 1 & 2, send a check or money order for $10.00 to: Schlegel Entertainment
Give feedback on this work at TRA's forum, which you can access at http://rationalarg.proboards24.com. Advertise your business or product permanently on TRA for a mere $1 donation to a worthy endeavor to combat human aging. Click here to learn more. Help bring about the cure for human aging within our lifetimes. Learn how you can help through the Chicago Methuselah Foundation Fund. Visit The Rational Argumentator's new Online Store. Visit TRA's Yahoo! Group, a means of notification and communication for our subscribers. You can find it at http://groups.yahoo.com/group/rationalargumentator. You can sign up by sending an e-mail to rationalargumentator-subscribe@yahoogroups.com. Click here to return to the Issue XXXII index. Visit TRA's Master Index, a convenient way of navigating throughout the issues of the magazine. Click here. |
