“[The] Seattle Collaborative Orchestra is thrilled to be performing Nancy Galbraith’s terrific work, Euphonic Blues.”
So enthuses Anna Edwards – music director of the Seattle Collaborative Orchestra – on the eve of the ensemble’s November 15 performance of Galbraith’s work, at the Shoreline Center Auditorium in Shoreline, WA. The one-movement, ten-minute work premiered in September 2012 and was written for the Carnegie Mellon School of Music Centennial Celebrations. Edwards continues. “I chose this piece specifically because of its range of musical color. The absolutely beautiful beginning starts with the soft lush texture of strings, harp and piano which supports the initial flute solo. The composition journeys forward to the lively 7/8 section where the percussion leads the orchestra to an exciting dance section. Galbraith writes such great music that both the orchestra musicians and audiences love it.”
Galbraith comments on her work. “My intention for Euphonic Blues was to write a predominantly melodic work – using polychords and lush diatonic harmonies – that reflects a somewhat bluesy and nostalgic sound. Much of my music falls under the umbrella of ‘post-minimalism’ as it is replete with rhythmic drive and harmonic textures. My more extended instrumental compositions also include areas with a more melodic character and gentler pulse contrasting the surrounding livelier content. For this piece, I wanted to focus more on the melodic, nostalgic side since I [was] writing to celebrate the past 100 years of [Carnegie Mellon School of Music] – a venerable institution. My music also exhibits a distinctively American sound, and this naturally led to the bluesy character of some the music…Euphonic Blues opens with the soft, long lyrical lines of the strings, and the sweet, reflective melody of a solo flute. After further development, the music evolves into a majestic, full orchestral climax. This is followed by a dance-like middle section that is abruptly interrupted by another rhythmic section in 7/8 meter. A sudden trumpet fanfare leads to a repeat of the earlier bluesy climax, and the work closes quietly and nostalgically, as it began.”
Upcoming: next month, from December 16 – 18, Galbraith’s new choral work Rededication – which features texts by poet Sara Stock Mayo – receives its world premiere by the Resonance Works ensemble in Pittsburgh, PA.