Africa Program Notes

AFRICA<= br> by Marshall McDonald and Steven Sharp Nelson

Program Notes

Africa is a continent replete with earth’s energ= y, diversity of life, and beauty—this piece attempts to depict Africa’s natural abundance of these things. T= he flow of AFRI= CA allegorically follows the life cycle. Each section described is not set up = in a traditional classical movement form, but rather AFRICA is through-composed and inclined towards a symphonic poem form= at. Each portion of the piece has a dance-like quality or feel, in respect and honor for the African culture, which associates dance with everything in li= fe. The lyrics of the choir portions are taken from the poem, Kuishi ni kuona mengi, written by the composers and translated by Leonard M. B. Bagal= wa.

I. = Birth

Out of the stillness of the orchestra’s anticipatory silence a lone marim= ba motive sounds, representing the rapid beating of the infant heart. A cresce= ndo of drum rhythms builds upon this motive, denoting the excitement and energy= of new life. Myriad drum patterns reflect life’s early experiences, challenges, and adventures. A deep, rich harmony played in the string secti= on enters representing the growth of infant understanding and the bond between= the new life and seasoned life. T= he marimba and the drums dance around the slow harmonic r= hythm of the strings and subsequently the brass, symbolizing the dance of birth a= nd the contrast of seriousness and playfulness in new life.

II.<= span style=3D'font:7.0pt "Times New Roman"'> Adolescence

The drums and strings climax and release, opening the way for an a capella chorus to sing a playful melody that portrays the impetuosity and lightheartedness of youth. The melody is written to be light and syncopated, yet sing-song and danceable. = Drums aid in this analogy by performing a very danceable rhythm. Other instruments join in, underlying the chorus with colorful and imitative themes and ostinatos. The melodies and harmonies are relatively simple and innocent. T= he instruments laugh with each other—representative of how laughter is ever-present and unconditional among youth. The language used in the chorus= is Swahil, the most widely used language, among hundreds or others, in Africa (see Kuishi ni kuona mengi).

III.= Development

In contrast, this section begins with a rude interruption of the playful, inno= cent Adolescence section. A pedal B = in the low strings begins the interruption as the rhythmic and melodic elements fa= de. A painstaking ostinato is played by the marimba—once the steady beat = of an infant heart, now the erratic beat of a troubled one. Youth’s simp= le joys fleet away as the trials, struggles, and disappointments of life creep= in. Melodic fragments, first in the winds and answered by the strings, denote a crying out from amidst the challenges of life. A solo violin and cello each tell a story of individualized trials. The melodies moan as if from underne= ath burdens placed upon them. More instruments join in commiseration, but in dissonant experiences of their own. The dissonance combines into a cacophon= y of clashing tones and motives, intensified by bass drum and cymbal crescendos = and decrescendos. The melodies continue to grow, but remain detached and fragmented, flickering with ephemeral phrasing. Just when the tension is too tight, the instruments one by one begin to die down and former melodic fragments return, admitting life must go on. The erratic heartbeat of the marimba fades into the next section.

IV.<= span style=3D'font:7.0pt "Times New Roman"'> Age

This section begins with a symbolic uncertainty of what follows the fiery trials= of life. Percussion instruments pop in and out while the choir hums a haunting= ly somber phrase. This increases until the development makes a way for deeper perception, an awaking, or discovered awareness. A new melody is introduced, profound and emotive, performed by the recorder—mimicking the common wooden flute native to Africa—floa= ting above string layering and subdued choir hums and vowels. Low brass and stri= ngs symbolize the subsurface heat emanating from the earth’s heart. It he= ats from below as the sun heats from above, depicted by the high violins, both working in harmony to warm the earth’s life. The choir’s hummed motive returns, but now in relative harmony, underlying the orchestral music with pure voice, representing the conversion from uncertainty as one finally discovers the surrounding majesty of life and the earth. This section is, in essence, meant to represent the pause in life when time is available for reflection. Lessons learned are used as magnifying elements to better appreciate and understand life’s miracles and the beautiful elements = of the earth. The melody played in the flute and later the strings aches with emotive qualities, as one aches with the hindsight-aided epiphanies of old = age. As one grows older the physical eyes may dull and weaken, yet the mind̵= 7;s eye of understanding and gratitude sharpens and becomes more clear. The instruments in this portion of the piece are written lines and phrases that weep, for joy or for pain. The price of t= his gained insight and wisdom of age forms from the trials and vicissitudes of = life as well as the maladies of age itself. One could argue the price of = life is steeper in Africa, with war raging in= many places, resources in demand, and life hanging in the balance. Many ask whet= her the price is worth the payment. The knit harmonies, the emotive melody, and= the tonality of this section seem to suggest a resounding yes.

V. Life Beyond

Life here on earth is part of a grander journey. Death is not the end of life. In tune with this concept, AFRICAR= 17;s finale alludes to the beginning of the continuation of life beyond. At the completion of the Age adagio, t= he drums begin again to crescendo out of a quiet, introspective chord. Birth’s dance once again springs into full crescendo, representing the birth into the life beyond. All the instruments and voices come together and sing of the entire life cycle. Former melodies are reintroduced and reminis= cent motives appear. The drums and every instrument continue to increase in intensity into a dramatic, finale dance. The last phrase, taken from the Adolescence section, played in combination by all the instruments in the symphony orchestra, seems to susp= end in a tale not telling whether it is the end or the beginning. Perhaps it me= ans to be both.