Master of Music (MM)
In the summer of 2003 in the outskirts of Portland, Oregon, inspiration was found, and Symphony III is the result. It was here that two conflicting ideas became clear. The juxtaposition of these two ideas is evident throughout this work. Symphony III is a one-movement piece of twenty minutes in duration that consists of five different sections in the arch form ABCBA. One idea is very lyrical, as in Section A, while the other is very rhythmic, as in Section B. The lyrical inspiration can be heard in the opening flutes, and in the piccolo trio, which perfectly reflects the sounds wafting over my balcony from the tree-covered valleys below. The accompanying harp also represents the lyrical effect the Northwest had on me, a native Louisianan, with its delicate sound and clear accents, which truly are perfect for the triplet figures. Section B, or idea two, was inspired by the upbeat tempo of Portland and its people whom I found easy to talk with and refreshingly intellectually stimulating. The use of the xylophone echoes the energy of our lively discussions about Stravinsky and other modern composers over the pubs' wooden-topped tables. In Section C the lyrical idea of Section A is layered upon the rhythmic idea of Section B to create a dissonance forming a unison of the ideas leading to the symphony's climax. The climax marks the beginning of the recapitulation in Sections B and A. Yet, in this recapitulation, the ideas are again separated. After further development of the original two ideas in their separate forms, they are again combined to form a coda that is both lyrical and rhythmic helping to reach the final climax.
Document Availability at the Time of Submission
Release the entire work immediately for access worldwide.
Berthelot, Michael, "Symphony III" (2006). LSU Master's Theses. 4271.