Product Description
A Sunny Day in Hell - for two classical guitars
The
work was written on December 2007-January 2008 for the Amadeus Duo (Thomas
Kirchhoff and Dale Kavanach) and is dedicated to them with no personal
reference in the title. Although I
composed a substantial bulk of guitar music, including a guitar quartet, four
guitar concertos and various chamber music, it was my first time to compose a
guitar duo.
I found the task very intriguing and quite fulfilling especially
for the fact that I was writing for friends.
After all those years of knowing the exquisite playing of the Amadeus Duo this work was indeed past
due for a while and I am happy to have it completed finally. A small introduction from the second guitar
opens the work which brings the introductory material as a feeling of a
sluggish and almost joyful day, an opening with a dark feeling. Almost like a sunny day in hell, I could say.
This opening material gives its turn to a fast-fierce agitated section
in where the second guitar mostly plays 16th triplets and the first
introduces an exotic dance-like tune. A limping dance, I must add given the
titles influence. Almost like a small
party in hell. The following slow
section brings up a sad melancholic mood where both instruments share new
material with an evocation of a past happy life. The work ends with the main
fast material in a variation form. It was my intention to compose a friendly
work for performers and audiences.
First twist:
Performers: prepare audience for
an upcoming performance twist/surprise which will not come (at least not during
performance). If or when members of the audience later ask about it, performers
should assure them that the twist is still an upcoming great event. Have them
re-live the performance as they wonder for years to come...
If
members of the audience should coerce or threaten you by force, you may reveal
the twist: "In the unfortunate event that you may later end up in hell, this
performance guarantees that you will have at least one Sunny Day in Hell"
Optional Second twist:
Performers, could as an extra touch, wear fangs (teeth
of a vampire or devil) and after performance could reveal them by either
biting the lip or casually smiling or yawning at the audience. No
audience preparation is needed for this twist. Although wearing Fangs during
the performance, could be a nuisance to some performers, they could give to the
work a special extra bite. As a variation, fangs could be worn after the end of
the performance.
Apostolos Paraskevas, Boston 2008
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