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Current time:0:00Total duration:6:14

Video transcript

this piece blast was commissioned from the Seattle Symphony for Jerry Schwartz's last season this music director of Seattle I was very happy to be asked but of course the many of us who were so strongly connected to the Seattle Symphony were all part of this crew of I something like 18 American composers who were asked to write short pieces for his final season I knew what kind of piece this needed to be and I knew I wanted to be loud and I knew it wanted to be fun so that's that's how it came to be blast it's loud aggressive fun there one little section of soft music in the middle but basically it's it's just one huge gesture that goes from beginning to end sometimes titles are very difficult to find but this one was easy once I knew the character of the piece that I wanted it to be really just let it all hang out blast just don't forget the exclamation point it's got to be blast not just blast it's only four minutes long and a few leftover seconds and butt attacks I think a lot of sound into those four minutes as I said it's quite loud the percussion whacks away and the brass but it's supposed to be that kind of piece the timpani is a very prominent role interesting when you think about the timpani the timpani was an instrument that played basically two notes in Mozart's time the Haydn's time they usually played or or this note just back and forth whatever they happen to be the key of the piece as time progressed especially in the in Beethoven with the ninth symphony when we get to the scale of bump Adam the timpani actually becomes a melodic instrument so by the time we get to the end of the 19th century the timpani is playing all the pitches lots of drums not just two drums but three drums four drums five drums tuned in different ways and the tiffany has pedals so they can actually tune quite quickly and David's piece the Tiffany is a prominent role and and even the very second bar he went I mean he's you know what he's long from this long way away I'm always doing that the vinyl is about so all this around these two pictures back and forth back and forth the brass are playing aggressive chords and this pattern between the timpani playing whether it's fun it's always that kind of odd interval it's never a very very what we would call consonant but always very aggressively dissonant interval then he uses rhythmic motive that leads to this almost jazzy section that the trumpets start it Harmon Utzon which is a kind of mute that gives it you know a sound I guess maybe Miles Davis the great jazz trumpet player made famous what he does with the streams while in the winds as well everything's very angular so the tympani as we know is playing in an angular way and very often the strings are just playing short aggressive notes that just makes us started again the tympani leads with this melody so it's like and then the trombone picks up the melody from the timpani then we get to the really what becomes in some ways the first kind of melody and it's the horns being answered by the violas and the cello about two-thirds of the way through we finally have a little relaxation I think it's important sometimes if you have a piece that's so aggressive and so loud to have even a short moment of reflection is good and David does that he does it with a duet between the bassoon oboe eventually clarinet and flute so just the woodwinds for a little while not long and he brings that jazz figure back and then he gets aggressive with the timpani like the beginning that really sets up the whole end and book another short magnificent work and it's over