Dauntless

The best description of this composition was written by the Composer. He writes, in part:

 This work was inspired by the orchestra and organ music I was fortunate to hear performed live during my undergraduate years at Westminster Choir College. I had written the first nine measures many years ago, modeling them after the opening of Louis Vierne’s Final to his Organ Symphony #1.

This is a piece of “absolute” music, meaning there are no lyrics or story attached to it; it exists for its own sake as a piece of pure music. It is composed in the sonata-allegro form. This work begins (exposition) in its home key of C minor with the introduction of the loud muscular first melody (theme) in the bass bells. Afterwards an interlude takes us into the closely related key of Eb major for the quieter lyric second theme in Eb major. Then follows the “development” section during which pieces (motives) of the two themes are mixed up as the music moves through various keys with a good deal of sharps and flats (chromaticism). The tension continues to build only to come to a stop that leaves us hanging in a pregnant pause. Luckily the first theme bursts back onto the scene only this time in a triumphant C major. A shortened version of the second theme leads to the ending (coda) with its final treble staff chord seeming to be unsure of what key to end in - C minor or major.

This is a fabulous work (it is a bass-ringer’s delight!), perfect for festival and massed-ringing events, concert, or worship for the Level 4-6 ensemble. 

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