For Celesta, Piano, Two Harps, Two Mandolins, Electric Guitar, Glockenspiel, Chimes, Vibraphone, and Marimba

by Christopher Fulkerson

Fulkerson Rush P.1

Fulkerson The Rush p.2

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I have a passion for the spoken word, and I marvel at, and revel in, the bardic state. Naturally I usually do this quite sober, but drinking wine in a breeze on a hot day and reading Homer about Odysseus drinking wine in a breeze on a hot day is just about as complete an exaltation of the verisimilitude between life and art as I know. Exploring the Shamanic element of the creative mind is one of my oldest preoccupations, and I have had in mind a work for chamber orchestra on this expressive theme since the late 1970s. (No, this is not that piece. This is something else.)

When, in one of my vast listening projects, I listened to the complete works of Beethoven, I was amazed at the huge legacy of so-called "Folksongs" he had left. There are hundreds of the most excellent pieces for solo voice or vocal ensembles, accompanied not by piano solo, but by piano trio, an ensemble Beethoven used with considerable imagination. And the quality of the literature he used is often really very good, and, amazingly, it's in English. (His publisher selected the texts for him.) Hearing Beethoven in English was one of the greatest revelations of my life to date. One of the most amazing compositions in his catalogue is the setting of "The Return to Ulster" by Sir Walter Scott. Like many of these "folksongs," it is in fact a wholly original vocal work far in advance of its time, technically comparable to the first of the Razumovsky quartets. I was quite taken by this song and by the marvelous, magical poem Scott wrote - not about Scotland this time, but about Ireland. Scott's insight into music and feeling and indeed magic impressed me utterly. In one short poem he convinced me that he is one of the most insightful bards of all time. The truth of the relation between images of water and of magic and art were right in step with the insights I was working with on MOYS ICOS at the time I heard Beethoven's setting of his poem. I felt as though I had found the most genuine door into a magical world I had yet found on my own. (When I mentioned the Beethoven folksongs to the President of the local Wagner Society, he said "Why don't we know about this music!") In the second verse, the storyteller sings of his passionate youth:

"I had heard of our bards, and my soul was on fire
At the rush of their verse, and the sweep of their lyre."

I love to read out loud, whether poetry, prose, or drama. I have read whole long novels, whole books of poetry, about half of Shakespeare, all of Homer, and all of the Bible (in English and the original languages) out loud. Yes, I love to hear the sound of my own voice - but the key is, that when I read great literature out loud, it is speaking words and sounds I can confidently know are really great, that I really love, and that sound fantastic. There are fewer greater pleasures I know than to drink good wine and read Homer out loud in Greek, which I can do for hours at a time. So Scott's words resonated deeply for me. And yes, I often feel my soul on fire with the words of the bards. I memorized the poem and recite it, or sing Beethoven's setting of it, quite often. It has become a text sacred to me. No matter that I live in a beastly ignorant world, and go for weeks at a time without a really worthy conversation (months actually). I am a one-man outpost of civilization, and my soul is on fire at the words of the bards. They are yet another treasure of civilisation that can never be taken from me.

The diptych ECHOES OF OUR BARDS, of which this piece is Part Two, is meant to bring forward the sounds of the two images "The rush of their verse, and the sweep of their lyre." It is 12 1/2 minutes long. In THE SWEEP OF THEIR LYRE, the sound of simple quick lyre-like arpeggiation, of fulsome chords, with characteristic trailing fioriture, is the entire basis of the composition. The ensemble was chosen to suggest the golden tones of days of yore, its harps and harp-like instruments such as the piano, generously augmented by the resilient sounds of bells and vibraphone; the electric guitar is used in a manner meant to be compatible with both the golden metallic tone of chimes and vibraphone and with the plectral sounds of the harp. For THE RUSH OF THEIR VERSE, I kept these instruments and added several others, expanding both the clangorous sounds and the plectral, and composed a long discursus meant to sustain the lyrical ebullience as well as the nobility of philosophy that is typical of the greatest epics. This is the piece that is meant to correspond with the drinking of wine in a breeze on a hot day and reading Homer about Odysseus drinking wine in a breeze on a hot day - though one needn't wait for hot weather to find a suitable time to listen to the piece!

Like the other pieces in the ECHOES cycle, these pieces also explore different versions of the phenomenon of echo; this will include the overall forms of the pieces themselves, which will in their entirety be variants of one another, a formal technique I have also explored in my Michelangelo Fantasies and other pieces. One of the rules of the Echoes pieces is that each must explore a different aspect of the phenomenon or idea of echo. The Echoes of Hart Crane was written to a poem entitled Echoes, so it could be thought of as "literally" echo; it was about the echoes of earlier events of life in the present time. The Echoes of T.S. Eliot is a short song cycle of two quite similar settings of two quite similar songs, that is, each poem, and therefore each setting, is an echo of the other. The Echoes of Our Bards "echoes" in music the feelings of the experience of the bardic state, and it also echoes in music the expression Beethoven gave the Walter Scott poem. So the Echoes of Our Bards is a new wave or echo of music generated from similar expressions of earlier composers.

Unlike THE SWEEP, which was written in a sustained burst in ten days, in the kind of preoccupied frame of mind I think Schoenberg was talking about when he spoke of "the ecstacy of composition," this composition was written over a period of about a year and a half. The plan was developed from a design I had made some years earlier, I'm not sure when, but probably sometime in the 1990s.













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Page edition of December 9, 2014.