Three Portraits of a Witch

Description

Piccolo, Flute 1, Flute 2, Oboe 1, Oboe 2, Oboe 3, Clarinet in Bb 1, Clarinet in Bb 2, Bass Clarinet, Bassoon 1, Bassoon 2, Horn in F 1, Horn in F 2, Trumpet in Bb 1, Trumpet in Bb 2, Trombone 1, Trombone 2, Bass Trombone, Tuba, Timpani, Percussion 1, Bass Drum, Bell Tree, Flexatone, Glockenspiel, Snare Drum, Triangle, Percussion 2, Crash Cymbals, Bones, Snare Drum, Suspended Cymbal, Thunder, Violin 1, Violin 2, Viola, Violoncello, Contrabass — Three Portraits of a Witch was commissioned by The Harford Ballet as music for the witches in a “Wizard of Oz” production, directed by Pamela Villeneuve and choreographed by Melanie Ortt.xa0 The premiere performance took place on May 20, 2006, at the Amoss Center for the Performing Arts in Bel Air, Maryland, under the baton of Anthony Rivera.xa0 The original version was scored for small chamber orchestra, and the piece was later expanded to full orchestra.The resulting orchestral suite consists of three sketches depicting an evil witch.xa0 She is represented by a four-note chord consisting of a minor triad with a major seventh, and this chord is the framework for various musical themes.In Black Magic, we find the witch at her demonic best, casting spells, chanting curses, mixing potions....xa0 She is represented by the bass clarinet, and the music begins with an evil-sounding theme, punctuated by eerie flexatone glissandi.xa0 At one point, her “evil” music is interrupted by “good,” which makes a brief appearance in the violins, foreshadowing music that will be heard later in the movement.xa0 The witch tries to fight it off, but good takes over, and benevolent music casts a luminous warmth over her, played by the strings and woodwinds together.xa0 The witch fights against it with increased fury, but good prevails, in a sweet, innocent-sounding theme in the violins, bringing the movement to a close.In Witch’s Nightmare, the witch dreams her evil dreams.xa0 She is represented, again, by the bass clarinet, her theme based on the minor/major seventh chord.xa0 She dreams that she enchants some forest animals to do her bidding, in a quirky-sounding tune that begins with fluctuating minor thirds in the strings, which are then joined by the woodwinds.xa0 The snare drum announces another spell she casts on a different group of animals.xa0 Now the music sounds more militaristic, with short, mechanical-sounding notes in the woodwinds, which are then joined by the strings.xa0 With both spells working their magic, we hear the two themes at the same time.xa0 An ominous-sounding fanfare in the brass leads the listener back to the witch’s creepy music in the bass clarinet.xa0 The specter of the good music from the first movement makes a fleeting appearance in the violins.xa0 The witch combats the good with even greater fury, in intricate lines in the bass clarinet. But in this nightmare, good wins out, and the witch withers away to nothing.The final movement is Wild Ride on a Broomstick.xa0 The theme is in a quick 6/8 time, the opening notes once again outlining the minor/major seventh chord.xa0 The melody is carried by the strings, with short interjections by the winds.xa0 Soon after, the winds take over the melodic material, which is then developed and passed around various instruments of the orchestra.xa0 Toward the end of the movement, good makes an appearance in a plaintive theme played by the oboe, as if to make its plea against evil. The strings then join in, as if in support.xa0 But the evil music interrupts, bringing the piece to an abrupt and angry close − evil has won out in the end.