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Show Program SCENES FROM THE BOOK SYMPHONY Program OF MORMON No. 2 SCENES FROM THE BOOK OF MORMON, Symphony No. 2, for Chorus, Narrator and Orchestra derives its inspiration from the great passages and messages of the Latter-day Saint scripture. The composer’s intent is an expression of personal conviction as to the sacredness and divinity of this book. The For Chorus, Narrator and Orchestra Crawford Gates Notes music has two aspects: first it attempts to illuminate the spiritual and dramatic content of the passages chosen, and secondly it reflects upon the significance of this content to our generation. Symbolically the symphony is built on two principal musical themes: one the “Christ theme” symbolizing the Divinity and Messiahship of Jesus, a message common to all Book of Mormon prophets, and secondly the “worship theme” symbolizing the subjective adoration by the worshipper in acknowledging the Savior and in endeavoring to follow after His I. PROLOGUE 1. Herald and Hymn 2. Evocation* for Brasses 3. Ezekiel’s Prophesy 4. Cumorah II. Pastorale PROPHETS 5. Mormon 8. The AND PROPHESIES precepts. These two musical themes are developed through the progressive movements of the symphony. Three other subordinate musical themes stated first in the Prologue are also treated in later movements. While in the Book of Mormon each successive prophet expresses an individual personality through his use of language and emphasis, the common theme is of the Christ; so in the music the individual movements reflect the uniqueness of corresponding personalities and events, and the Christ theme finds its continued expression in the context of varying musical textures of the entire symphony. I. PROLOGUE and Moroni 1. Herald and Hymn for Brasses. 6. The Vision of Nephi* 7. The Burning of Abinadi Conversion of Alma* The Herald is an endeavor to convey the same dynamic spirit expressed in the symbolic statue of the angelic trumpeter found on the spire of the Salt Lake and Los Angeles L.D.S. Temples: a voice of restoration, a voice of warning. The related “Hymn” is High on the Mountain Top (by Joel Johnson and Ebenezer Beesley). Intermission No. 2 Evocation Narration: il. INTERLUDE 9. IV. Lamanite GREAT Processional and Sacrificial Dance MESSAGES 10. Ammon and King Lamoni: A Testimony 11. General Moroni and His Captains: Liberty 12. 13. V. Samuel’s Prophesy: The Birth of Christ* Samuel’s Second Prophesy: The Crucifixion FULFILLMENT 14. Cataclysm 15. 16. The Faithful Behold the Christ* Postlude* *Movements for chorus and orchestra The audience is invited to refrain from applause except before the intermission and at the conclusion. (a) from the title page of the Book of Mormon, (b) Isaiah 29:4. Here is a musical image of a vast curtain slowly opening to reveal a thousand years of sacred history of the Nephites, a branch of Israel in preColumbian times on the American continents. As the orchestral-choral crescendu unfolds, the Christ theme is revealed and stated in a three part musical canon. The short movement ends in quietude. No. 3 Ezekiel’s Prophesy Narration: Ezekiel 37:15-16. Time: c. 587 B.C. The scripture is a prophetic utterance indicating a sacred record for the Israelitic tribes of Joseph as well as the Biblical record of the Jews and the divinely appointed relationship of the two sacred records. Musical symbolism is achieved by the use of two themes: the first, symbolizing the Biblical record of Judah, played by a solo cello, is freely adapted from a very ancient Hebrew chant in prayer mode, Ahavah-Rabboh (Kadosh, Kadosh, Kadosh or Holy, Holy, Holy). The adaptation includes use of a few quarter tones (a division of the octave into 24 equal pitch intervals instead of 12 as on the piano) to approxi- mate the ancient Hebrew vocal use of musical intervals. The prevailing mode conveys antiquity. The second theme, played by the English Horn, is a 12 tone melody, symbolizing the record of the tribe of Joseph (the Book of Mormon). The two themes are then combined by the two solo instruments and reiterated in combination by respective woodwind and string choirs. The movement con- tains a short accompanies prelude and the principal postlude themes. in a slow cortege-like rhythm which also |
