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Some Prophecies Came True
for solo violin (2025)
duration 5'30"
commissioned by Vera Panitch
duration 5'30"
commissioned by Vera Panitch
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composer's notes
Some Prophecies Came True is a short piece in three distinct sections, loosely inspired by Rembrandt’s painting Jeremiah Lamenting the Destruction of Jerusalem. The painting is a shining example of Rembrandt’s use of contrasting light and darkness to bring a scene of great drama to life - Jeremiah resting his head on his hand while the city burns behind him just as he had foreseen. My piece is inspired not by this specific scene but rather the idea of using a premonition as a musical device as well as different playing techniques and ranges to create that same chiaroscuro-style depth of contrast. The resulting piece opens with a section that, after a short outburst, creates a diffuse musical pre-echo in which the ending of the piece is glimpsed in short fragments, barely audible through a mist of soft undulations.
The second section is a meditative contemplation on what has been seen or sensed but not yet happened. Here the music at first quietens almost to a standstill, slowly forming the main falling theme that will shape the final section. The music grows in drama as it moves higher in register, ultimately culminating in the same outburst as that which opened the piece.
Out of this outburst, the closing section finally reveals in concrete directness that which in the opening had merely been hinted at. Forming one long crescendo the music flows ever onwards, slowly shifting from the simple repeated motif developed in the second section through flowing arpeggios and finally ending up in a section of rapid chords. This is a music not of destruction but instead one that seeks to create a dramatic narrative of contrasts inspired by the spirit of the great Dutch master’s work.
Some Prophecies Came True is a short piece in three distinct sections, loosely inspired by Rembrandt’s painting Jeremiah Lamenting the Destruction of Jerusalem. The painting is a shining example of Rembrandt’s use of contrasting light and darkness to bring a scene of great drama to life - Jeremiah resting his head on his hand while the city burns behind him just as he had foreseen. My piece is inspired not by this specific scene but rather the idea of using a premonition as a musical device as well as different playing techniques and ranges to create that same chiaroscuro-style depth of contrast. The resulting piece opens with a section that, after a short outburst, creates a diffuse musical pre-echo in which the ending of the piece is glimpsed in short fragments, barely audible through a mist of soft undulations.
The second section is a meditative contemplation on what has been seen or sensed but not yet happened. Here the music at first quietens almost to a standstill, slowly forming the main falling theme that will shape the final section. The music grows in drama as it moves higher in register, ultimately culminating in the same outburst as that which opened the piece.
Out of this outburst, the closing section finally reveals in concrete directness that which in the opening had merely been hinted at. Forming one long crescendo the music flows ever onwards, slowly shifting from the simple repeated motif developed in the second section through flowing arpeggios and finally ending up in a section of rapid chords. This is a music not of destruction but instead one that seeks to create a dramatic narrative of contrasts inspired by the spirit of the great Dutch master’s work.
