"Symphony No. 1 in 20 Keys ("Letter to the World")" is a five-movement polytonal symphony for large orchestra written in 2014 by Matthew de Lacey Davidson. Its total duration is approximately 35 minutes.
Contents
Background
To date, with one exception, all of Davidson's other orchestral works were adaptations or orchestrations of his own works, or those of others (most notably, Jean-Philippe Rameau and Robert Schumann). This symphony is the first large scale, full-length orchestral work in Davidson's catalogue of compositions.
Analysis
Symphony No. 1 in 20 keys is written for the following cominbation of instruments: 2 piccolos (3,4 FL doubling), 4 Flutes, 3 Oboes, Cor Anglais, Alto Sax in Eb, Eb soprano clarinet (clarinet 3 doubles), 3 Bb Clarinets, Bass Clarinet, 3 Bassoons, 1 Contrabassoon, 8 Horns in F, 4 Trumpets in C, 2 Tenor Trombones, 1 Bass Trombone, Tuba, Timpani, Percussion 1 & 2 (Glockenspiel, Xylophone, Vibraphone, Marimba, Tubular Bells, Wind Chimes, Triangle, Sleigh Bells, Cymbals, Cowbell, Tam-tam, Slapstick, Ratchet, Guiro, Snare Drum, Bass Drum), Celesta, two harps, Soprano, Mezzo-Soprano, Tenor, Bass-Baritone, Strings in divisi (violins I & II, violas, violoncellos, contrabass).
According to the composer's notes, Symphony No. 1 in 20 keys is the first symphony to cast the outer movements as scherzi. As in most of Davidson's music, every movement in the work uses melodies which are taken from transcribed non-western or "vernacular" melodies. Movement I is a modified mirror-shape, Movement II is a sonata form, Movement III is a series of variations on an original melody inspired by “fado” songs of Portugal. Each variation is titled by various musical forms, such as Faburden, Canto Carnascialescho, Freistimmigkeit, Menuet, Gigue, Sarabande, and Quodlibet. Movement IV is a chorale in five sections for soprano, mezzo-soprano, tenor, and bass-baritone which employ settings of poems by Emily Dickinson. Movement V is a rounded binary form using a Scottish folk and Russian folk melody (the latter is accompanied by a Renaissance song by Ockeghem - which provides the title of that movement).
The whole symphony uses transcribed melodies (or melodies suggested) from the following sources:
Throughout all five movements, there is a continuously developed and alternating use of four keys, all employed simultaneously, which provides an effect similar to "modal mixture" found in some renaissance music.
Movements
- Nana (Scherzo-I)
- Galliarda
- Fado
- Chorale
- Ma Bouche Rit (Scherzo-II)