2000 and Beyond
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Two Romances
These "Two Romances" are dedicated to violist Beverly Baker (viola section leader of the Virginia Symphony) and conductor, JoAnn Falletta. Although I sketched the pieces during the 1980s, I had put them aside because of their old fashioned lyricism. Years later, when Beverly told me that she and JoAnn had discussed a possible orchestral setting of my other work for Beverly ("Sanctum"), I suggested these two pieces instead. So, with Maestra Falletta’s interest, and Beverly’s encouragement, I polished them up for performance.
The "Two Romances" are simple, straight forward, tranquil pieces in ABA form. In the first one, the flute and violins present a pastoral theme, which is then taken up by the viola. A repeated figure in the harp begins the middle section. Finally, the opening motive returns in greatly lengthened note values in the violins.
After a short introduction in the violins and harp, the solo viola enters with the main melody of "Romance, Number 2". Bassoon and oboe solos begin the middle section which develops motives from the main theme. The introduction returns, with darker harmonies and orchestration, but, gradually, the coloring lightens, and the piece closes with the same delicacy that concluded the first movement.
As Falling Leaves
“They did not commit suicide; they were already dead – and they knew it.” That was my first thought when I heard about the people who, when trapped on the upper floors of the World Trade Center on September the eleventh, two thousand and one, chose to leap to their death rather than to be incinerated in the two thousand degree inferno surrounding them.
It was a final life choice. In this composition, actually a tone poem for flute, viola and harp, I wanted to reflect the thoughts of a person facing that gruesome choice. First would come recognition of the horrible reality of their situation – raging fire on one side, and, on the other, vast space outside a shattered window, hundreds of feet in the air above the pavement. In the brief time remaining, there might be memories from the dance of life: love, family – and thoughts of the small child who, later that night, would ask “where is …?” The time to let go approaches. The leap into space is the final dance.
This composition was commissioned by the Virginia Chamber Players, specifically for Debra Cross, Flautist; Beverly Baker, Violist; and Barbara Chapman, Harpist. The structure of the piece is that of a suite of movements organized into five main sections: I. Prelude, II. Life Dances, III. A child will ask “Where is …?,” IV. Final Dance, and V. Postlude.
String Quartet, Number 1
"String Quartet, Number 1" was finished in March 2002 as one of a set of new works I wrote for an all-Hailstork chamber concert on May 1, 2002. This work is dedicated to the Virginia Chamber Players, specifically: Vahn Armstrong, Violin; Amanda Gates Armstrong, Violin; Jennifer Snyder, Viola; and Michael Daniels, Cello
These fine musicians are at this time (March 2002) the first desk players with the Virginia Symphony Orchestra. When I heard that they would be the string quartet for the concert, I realized it was simply too good an opportunity to pass up. That is why I wrote this piece.
All of the material of the work was derived from the melody of the second movement (Adagio). That movement is an elaborated transcription of a song I wrote for the choir at the Unitarian Church of Norfolk where I serve as Choir Director. The first movement is in sonata form but without a return of theme two in the recapitulation. That particular theme is used as the introduction to the second movement. Movement three is a Scherzo. The Trio of this movement tries to be mellow, but it keeps being interrupted by a sudden outburst of energy which ultimately takes off into singing part of a tune from a famous Broadway Musical. The Finale of the quartet is a Rondo that begins as a light dialogue between the two violins. Eventually everyone joins in as the piece drives to a close with the theme that opened movement one. Adolphus Hailstork. March 2002.
New
York City Can! Can! Can!
This lovely work was written in 1997 for soprano Lorraine Bell, for whom Dr. Hailstork has written several other songs. The text is from the Guyanese poem of the same title which was written by poet Wilson Harris. The tone of the work is somewhat pastoral and evokes the contemplative mood of a summer's day.