MICHELLE ENDE'/THE BAY AREA PHILHARMONIC: The Symphony Number 5 in G Major; Opus 127 - The Extravagant

Michelle Ende'/The Bay Area Philharmonic

The Symphony Number 5 in G Major; Opus 127 - The Extravagant

© 2008 Annuit Music (634479840517) (format: CD-R)

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Here is vibrant orchestral music, symphonic in scope and execution. Symphonic music depicting mysterious journeys and strange interludes, here is the Bay Area Philharmonic, once again, playing this breathtaking work by Dr. Ende'.

notes

The Symphony Number 5 in G Major; Opus No. 127 - The Extravagant

Movement One - Allegro Giocoso – The movement begins mysteriously, promising a great adventure and we wait patiently for the great journey to begin. A timpani roll and hit start us off in a lumbering, almost drunken fashion. This section of the movement seems to lumber along, dropping and rearranging things as if loosely fastened to a herd of drunken elephants rumbling through the jungle. Eventually, though, the party gets its act together and some cohesive thematic material is developed, which is taken up by various members of the orchestra, twisted and turned until the whole thing rumbles to a close.

Movement Two - Allegretto – This movement begins with some of the rhythms of the first movement, but slowly evolves into a slower, more lyrical set of melodies, echoed and refrained throughout the movement. This movement, in contrast to the first movement, is much more relaxed; almost content.

Movement Three – Andante Cantabile - It is from this movement that the symphony takes its name. Extravagant melodies and harmonies are started and stopped, begun and mislaid throughout the movement. This is typical of the Chicago Constructionist School, of which Ms. Ende’ is the founder. The assembling of melodic elements as the movement progresses, each little strand contributing or constructing the final theme. Rather than the classical style of announcing the theme and then dissecting it, Ms. Ende’ announces fragments of the melody and then constructs a final theme from the individual aphorisms or phrasings. The movement ends rather sparsely, almost as if the orchestra has run out of energy.

Movement Four – Allegro Con Fuoco; Appasionato – This movement begins in the Strings, almost as a scherzo to the accompaniment of lower winds and brass. This first announcement of a fragment of a march is repeated over and over. The Brass counter with another march like theme, also a fragment and the orchestra move back and forth between the two with a slow build in presence from the Lower Strings. The Lower Brass announces another melody to tremolo Winds and Higher Brass again takes up the march theme. All of this builds to a strenuous climax with a soaring melody emerging from the strings. The orchestra then builds on the former march theme only to give way to a solo Clarinet as it takes up the melody with echoing Strings. Eventually the two themes are intertwined as a climax is reached and the thematic material is resolved through a final third theme, which ends the piece.

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