Regenerations

Program Notes

Regenerations (2008-09) is a colorful work for full symphonic orchestra in which a simple five note motive becomes the basis for nine contrasting variations. Throughout the piece, the musical elements stated in the first variation are continually intertwined and developed to create an evolving sonic tapestry. In the midst of this regenerating musical material listeners will be exposed to many different textures. At the opening long brass lines are placed upon gentle string chords, while in other sections wind chorales and canonic lines slowly build to form rich polyphonic textures. In the most energized moments long singing lines in the woodwinds and brass are placed on top of rapid pulsations in the strings, while the harp, piano, and a large percussion section are continually utilized to augment the orchestra’s colors. Overall the work slowly evolves, winding in and out of various musical regions and exploring different areas of harmonic stability and musical tension. Only at the very end of the piece do the musical ideas finally come into full counterpoint with one another, at which point the evolution of the regenerating motives stops and the piece builds to a final, triumphant, tutti ending.

— Daniel Temkin

Postscript:
Regenerations is one of the first formal pieces I ever completed, as a late teenager studying in college. Listening to it now, it is part of a different musical world and sensibility than that which I inhabit today; but, it was also an earnest statement at the time I wrote it, as I considered the powerful orchestral resonance of music I had studied and performed by Adams, Lutoslawski, Stravinsky, and others. I had a lot of support working on this piece, because it was my first time composing for orchestra. Charles Fussell helped me understand fundamentally how to work with such large forces, while Kevin Puts, Bob Aldridge, and Michael Gandolfi each helped me revise and polish the piece in subsequent lessons after it had been read initially. I had ideas about sounds and colors, but it would never have been orchestrated or notated properly without this guidance. Finally, I am especially indebted to Kynan Johns, Vince Lee, my friends in the Rutgers Symphony Orchestra, the Earshot readings program, and Giancarlo Guerrero and the Nashville Symphony. These musicians believed in my music and brought this ‘dream’ piece to life and gave me a chance to hear what the orchestra could do in flesh and blood with new notes on the page. While the piece is no longer representative of my musical style and ideas, hearing it come to life at an earlier stage is one of the major reasons I felt inspired to keep creating music to this day.