Carson Kievman

composer, stage director
(c) (c) 1991 Carson Kievman (Intelligent Company Publishers - ALL RIGHTS RESERVED
Credits: Carson Kievman, composer. Delta David Gier, conduction. National Polish Radio Symphony - Katowice. Polish Radio Choir - Krakow

Resurrection (choral excerpt) from Symphony No. 2(42) - Movement 4

Commissioned by the Florida Philharmonic Orchestra for the 200th anniversary of Mozart's death. 
Recorded by the National Polish Radio Symphony Katowice / Polish Radio Choir of Krakow 
Delta David Gier, conductor. New Albion Records (1996)

Symphony No. 2(42) was commissioned by the Florida Philharmonic Orchestra in 1991 to commemorate the 200th anniversary of Mozart's death. The music conveys a sense of Mozart as visionary artist, striving to pursue creative freedom despite the ultimate costs to his career and health. The final movement incorporates the "Lacrymosa" from Mozart's unfinished Requiem: the last bars of music that he wrote from his deathbed at age 35. For Kievman, this tragic ending becomes a frame of reference for the creative life, with the symphony's four-part structure depicting a metaphorical journey from youth through death, and beyond.

The transcendent final movement continues the journey towards a new psychic and spiritual terrain-or, in the words of the Lachrymosa, an expectation of mankind arising from the ashes on the day of judgment. An ethereal quality pervades the opening, as fragments of the familiar and unfamiliar float in a dreamlike state: echoes from each of the earlier movements and foreshadowing of new themes, accentuated by flutter-tongue playing of the winds and bold glissandi of strings. From the opening bar, these elements are linked by a subtle melodic figure in the bass and violas. a chant·like theme that progresses with the hypnotic steadiness of a train; the fragments develop over the course of its voyage, guided by the inexorable undercurrent of motion. A new melodic theme, somewhat nostalgic yet elegant, is first introduced by cellos and presented in ever­ longer appearances, as echoes of Mozart are continually asserted by various instruments. Interruptions by the harp, and later by tubular bells and vibraphone, suggest the heavenly nature of the destination.

A striking o

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