Program
Notes/Description
Morning Star Rising was composed in Los Angeles, CA in
2002 and was inspired by the book, "Conversing with the Planets"
by astronomer and anthropologist, Anthony Aveni. The book's subject
is ancient people's "celestial mythology" and how their
rituals, beliefs and practices shaped their understanding of the
natural world. Considerable focus is on the Maya and the importance
they placed on the worship and deification of the planet Venus,
portrayed as the morning and evening star gods. See
more about Dr. Anthony Aveni and his published works.
"For the Maya, the world was a complex and awesome place,
alive with sacred power. The power was part of the landscape, of
the fabric of space and time. The king acted as a transformer through
whom, in ritual acts, the unspeakable power of the supernatural
passed into the lives of mortal men and their works. The king ensured
that the heavens would rotate in perpetuity through the rituals
of sacrifice"
- Linda Schele, Mary Miller
"Heaven was not so far away in the eyes of these people (the
Maya), who believed that individual, civic and social truths could
be revealed by consulting with nature: the shifting of the wind,
the arrival of the rain, the appearance of the stars" -
Anthony Aveni
“The real payoff for a writer comes when he helps kindle
the muse in another writer – and when that writer works in
another medium the thrill is even greater – beautiful piece”
– author Anthony Aveni to Steve Kornicki
The recording of Morning Star Rising was made possible by generous
support from the Kornicki Family (Melissa, Ann, Victor), Lois and
Thomas Madden, Diane Weaver, Angela Weaver, Herb and Linda Dankmyer
and Dr. Rae Walker.
Musically, Morning Star Rising can be viewed as a symphonic narrative
in 6 sections depicting an imaginary early morning ritual as practiced
by the Maya. The piece is a culmination of orchestral ideas and
concepts that I was developing from the early 1990's to the composition's
completion in 2002. The compositional process and orchestration
of the piece unfolded in an organic manner with the progression
of musical elements presenting themselves in a developmental fashion.
Thus, it seemed appropriate to make it my first symphony, although
I don't relate it to the traditional concept of the
symphony. The germinal ideas and thematic construction (especially
the Lamentation and Procession and
Prayer to the Sacred Star sections) for Morning Star Rising evolved
from a piece written in 2000 for wordless women's chorus, percussion
and electronic sounds. The gradually evolving tonality of the piece
creates in the listener a suspended time frame effect through
the
use of extended durations of similar harmonic motion. The narrative
mysticism and directly communicative orchestral textures of the
composition are integral elements to the music’s effect.
The programmatic scenario for the 6 sections of Morning Star Rising
is as follows:
1. Lamentation (the Maya, a people who’s
culture has seemingly disappeared but has been integrated into present
day Mexican life) - the peoples' suffering and their need to
implore the intervention of the gods - Winds and strings ebb and
flow in freely sustained melodic patterns surrounded by varying
lengths of silence portraying the cosmic views and deep-rooted connection
to nature by the people. Later, harp and glockenspiel intone a steady
pulse leading to the beginning of the dreamlike ritual. The tonality
centers on an independent usage of the pitches of g minor, with
occasional references to triadic configurations.
2. Procession and Prayer to the Sacred Star (returning
to the past Maya in our imaginations and through their art and architecture)
- in the pre-dawn darkness, the ceremony begins and the people proceed
to their place of worship - Melodic percussion and pizzicato strings
maintain the pulse while evolving thematic phrases are shared by
groups within the orchestra invoking the "prayer". The
harmony now alternates between c dorian and f mixolydian in 8 beat
groups at a moderately paced tempo.
3. Sacrifice (the religious aspect of their
lives including their sacrificial practices) - the priests
perform their powerful ritual of offering and sacrifice to the gods
- Full orchestra is utilized for a climactic exaltation, thematically
constructed from structural variations of the previous movements.
4. Appearance of the Star (the Maya and their
advanced astronomical and mathematical thought) - it is early
morning and solemnity falls upon the people after the priests have
finished performing their homage; the star makes its appearance
to all - Sustained strings give a distant impression of the dawn
sky while winds, percussion and harp perform overlapping ostinato
figures that represent the surrounding landscape and quiet contemplation
of the congregation. An atmospheric texture is established with
continuing free usage of the harmonic modes utilized thus far.
5. Morning Dance (the imaginary Maya)
- a group of ecstatic women begin a primal and orgiastic dance that
soon leads to a throng of jubilant celebration and rapture that
is abruptly ended by the threatening decree of the priests - A driving,
percussive section that reaches a climax of savage, accented orchestral
chords along with pounding timpani. The music now in a tonality
of 3 flats, returns to the alternating 2-part modal progression
of the Procession movement with greater emphasis placed on rhythmic
syncopation.
6. Adoration of the Earth (the future of the
Maya and their role in history) - a representation of the ancients'
awe of the power of the universe with the Earth acting as a witness
to the continual cycle of humanity's reverence to her creations
- A flute solo leads to slow pulsing harp chord-clusters. Sustained
tones in an expansive Eb minor mode rise and fall against pizzicato
strings creating an ethereal mosaic of sound eventually giving way
to a final dissipating chord in woodwinds and horns.
Instrumentation
Piccolo, 2 Flutes, 2 Oboes, 2 Clarinets in Bb, Bass
Clarinet, 2 Bassoons, 4 Horns in F, 2 Trumpets in Bb, 2 Tenor Trombones,
Bass Trombone, Tuba, Timpani, Percussion (4)*, Harp, Strings
*Percussion 1: Glockenspiel, Vibraphone,
Crotales
Percussion 2: Tubular Bells, Marimba
Percussion 3: Crash Cymbals, Tenor Drum, Small Tam-Tam
Percussion 4: Bass Drum, Triangle, Large Tam-Tam, Suspended
Tambourine, Suspended Cymbal, Thunder Sheet
Score in C
Piccolo sounds one octave higher than notated
Basses sound one octave lower than notated
c. 16 minutes
Quotes
and Reviews
"With soft colors and atmospheric harmonies, [Kornicki's
Morning Star Rising] is an ambitious tone
poem depicting the topic of the Mayan relationship to
celestial mythology." - Andrew Druckenbrod, Pittsburgh
Post Gazette
"This 15-minute tone poem for orchestra incorporates
echoes of Hovhaness and Holst, along with some slight minimalist
elements, to create a very captivating sound. The piece
strikes me as quite unique and powerful." - Rob Grano, Musician & Writer, Pittsburgh, Pennsylvania
"The "program" of the morning star rising
extends to touches of splendor, but above all there is a
transparency here, as if at this time of day above all there
is transparency between our world and another; a transparency
that diminishes with, I suppose, the brightening of our
day, but not with a suggestion of tragedy but rather of
hope." - Dale J. Nelson, Associate Professor of
Liberal Arts, Mayville State University, North Dakota
Radio
Play
WPRB, Princeton, NJ "Classical Discoveries" (2009)
WTJU, Charlottesville, VA (2007)
WPRB, Princeton, NJ (2007)
WCMU, NPR Michigan (2007)
WMUH, Allentown, PA (2005)
Contemporary Classical Internet Radio (2005)
WQED, Pittsburgh PA (2005)
WPRB, Princeton NJ (2005)
KGNU, Boulder & Denver CO (2005)
KLCC NPR, Eugene OR
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