Embedded Files
Soundcheck: for String Orchestra 2010, premiered 2021
Speculation
Four Love Songs for Soprano and Orchestra 2004
Peregrinations for Viola and Orchestra 2002
Revelry for Full Orchestra (becomes Silhouette with Revelry) 2002
Intimations for Piano and Orchestra 1999
Triple Concerto for Horn, Bass Clarinet, and Marimba 1999
Initiation: Music for Full Orchestra 1970
Concerto for Violin and Chamber Orchestra 1979
Weigenlied arr. of Brahms song for chamber orchestra 1981
Concerto for Bassoon and Chamber Orchestra 1983
Symphony No. 2 1986
Symphony No. 2 (1986) by Richard Wilson
In Three Movements Program Note
Evelyn Waugh began one of his novels with a chapter entitled,
"Portrait of the Artist in Middle Age." My SYMPHONY NO. 2 could be
thought of as "Portrait of the Composer Straining to Appear Still
Young." Despite the writer's cramp, eyestrain, a sore back, loss of
memory, and hair that is falling out, I attempt to project a balletic
lithness, a rush of energy, a headstrong recklessness. It will be
noticed that none of the symphony's three movements is a "slow
movement": no contemplation of mortality or bucolic serenity here.
Admittedly, traces of the traditional adagio may be found articulating the first movement and framing the second. But these passages tend to be overshadowed by extended areas of rapid activity. Restlessness and anxiety abound. As in the Waugh novel, insomnia may be a latent theme.
The causes of all this agitation are perhaps not for me to identify.
About the musical materials themselves I can say that the augmented
triad--the least stable of the four types of triads--seems fundamental
to the harmony. The rhythm, on the other hand, seems more stable,
regular and motoric than in some of my music. As to the style in
general, the work is not minimalist, neo-tonal, neo-romantic, nor is
it neo-eclectic. It may be neo-neo-classical--I am not sure what that
is, but the term is appealing. SYMPHONY NO. 2 was composed during
1985 and is dedicated to Leon Botstein.
Symphony No. 3 2010
Silhouette, for full orchestra 1988
Suite for Small Orchestra 1988
Articulations, for Full Orchestra 1989
Concerto for Piano and Orchestra 1991
Agitations, for Full Orchestra 1994
Pamietam for Mezzo-soprano and Orchestra 1995
A Child’s London, arr.for Chamber Orchestra 1997
The Cello Has Many Secrets, for Mezzo-soprano, Cello Solo, and Orchestra 2008; Richard Wilson · Leon Botstein · American Symphony Orchestra · Mary Nessinger · Sophie Shao
Settings of three Poems by Adam Zagajewski.
Jerusalem Symphony Orchestra
Leon Botstein, conductor
Sharon Rostorf-Zamir, soprano
Noah Briger, baritone
The psalms chosen are numbers 1 (sung by baritone), 114 (sung by soprano),125 (baritone), 137 (soprano) and 122 (soprano and baritone in duet).
There are orchestra interludes between the settings of 114 and 125 and 137 and 122, giving a total of seven movements.
RW
2006
In selecting the five psalms I was drawn to sentiments and images with which I felt a particular sympathy. Virtue, wisdom, and peace were appealing themes. It was a great satisfaction for me to include Psalm 137, the beautiful setting of which by Gombert (“Super flumina”) I first learned in college so many years ago.
These ancient texts—which I chose myself—called for a tone of deepest respect, if not reverence, and led me to exercise restraint in the degree of decoration and elaboration in the music. I wanted the words to speak clearly at all times and in a rhythm that was syntactically comprehensible.
RW
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