Khrushchev Portrait for Narrator, English horn, Bass clarinet
and two chamber orchestras, opus 84, was written during the Summer of 1994.
This work was not a commission nor do I have any orchestra in mind for the
performance. It is a work I had wanted to write for quite a while. I purposely
waited for the summer off from my Symphony to begin such a large work. I expect
the first audio version will be a computer with the three live soloists version.
My main reasons for writing it are 1) the text shows, if honest,
Khrushchev's peaceful intentions, his concern for international law and
his willingness to comply to it, and his concern for the world. A view of him we
don't often get. 2) The text suits my composition style, 3) It was a
welcome change not to concern myself with structure, since it is inherent in the
text. 3) I haven't written for a large ensemble in quite a while, 5) I
feel I finally know all the instruments (except Roto-toms) well. 6) I like the
piece Coming Together with a text from a prisoner at Attica Prison by a composer
I forget, and I like the piece by John Adams with orchestra accompanying a
recording of a late night talk show host. I feel my work is a companion to
those. 7) I thought maybe this might do a little for world peace. To emphasis
the peaceful and non-offensive reasoning for what Khrushchev had done. Which may
be lost in our version of history, since history is usually told from the side
of the victors.
Formalistically I am also proud of this work. My notes have been
included at the end of the work. As usual I began with a random throw of coins
to get two I ching Hexagram. From that I also used the inverse and assigned one
pair to each orchestra as symbolic of Khrushchev and Kennedy. The hexagrams then
suggest scales with whole steps and half steps. Years ago I assigned fixed
tonics to all 64 hexagrams, with somewhat mystical reasoning to which I adhere.
From the interrelationship of the common and uncommon tones of the scales the
melodies are created. As the work progresses, rhythm patterns based on the
rhythm of the text emerge and repetition of words is mirrored in repetition of
instrumental sounds and patterns, with key words such as: I, me, we, you, war,
Cuba, peace, military man, Mr. President, etc. Rhythmically the ratio 9: 13 is
predominant.
During this period I also was involved in reading Dynamic
Dissonance in nature and the arts by Louis Danz, which was rather long and
difficult with many obscure literary references. Danz's praise of
Schonberg did inspire me to work in the twelve tone form. So, in this work, the
melodies evolve together into a unified row, which then bifurcates and then
breaks down before the recapitulation. The work that followed this The Waltz for
orchestra, also a twelve tone work in which I used a chromatic scale as my row
is a companion piece for my Khrushchev portrait, The Waltz would be a suitable
overture or postlude, with a Mozart horn concerto on the program to balance the
weight of my Khrushchev Portrait.