The Suite of the Witches

Nouveau
Aperçu
Compositeur : KAYA, Celil, Refik
DZ 2801
Avancé
ISBN : 978-2-89737-718-2 
Guitare seule
16 p.

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Description du Produit

PROGRAM NOTES

This suite was inspired by a vivid dream the young composer had when he was seventeen. The vividness of the dream creates the fantastic elements and atmospheric images within the piece. The music goes to depict witches, autumn scenes and rituals in the manner of Renaissance and Celtic dances. The composer appropriately identifies this piece as a neo-Renaissance piece based on stylistic dances of the English Renaissance and Celtic dances. These dances have both been combined with irregular meters and progressive new age colors and harmonies.
The first movement of the suite opens with folk-like Celtic ornaments and melodies in an irregular meter to illustrate a brisk autumn air and the colorful changing leaves. This scene takes place in the composer’s hometown of Istanbul, but the large ancient city takes on an enigmatic character, as it seems unusually different. Reality and fantasy intermingle in an allusive way to create an element of uncertainty.
The Arrival of the Witches comes abruptly as the sky transforms into a whirlwind of dark grey storm clouds pregnant with the presence of a dark evil. In this moment the Romantic feeling of a scenic autumn day transmogrifies and all tranquil scenes from the previous world have vanished into think storm clouds. Excitement hangs in the air like the electricity of a thunderstorm and suddenly an assailing wail pierces the composer’s ears. The cackles of the witches fill the sky as they make their procession on their weathered brooms towards the young composer.
After their arrival, the witches proceed with a ceremonial dance as a celebration. The composer looks on with trepidation, as the intent of the witches’ arrival has remained mysterious. They dance with a resounding glee and crooked smiles on their faces but their eyes sparkle with happiness and delight. The composer still watches from a distance unsure of what to do next. He could walk home and forget about them but their presence has allure enough to draw him in.
In Dialogue, the composer sees himself transported abruptly to an extravagant house that he lives in. In reality the composer does not live with such amenities and this house probably only exists within his mind. An elderly blond lady rings the bell of his splendid mansion. With a grand gesture the composer opens the large double wooden doors and greets the elderly woman with generous hospitality. He recognizes the crooked smile from before as belonging to one of the witches from the storm. However, the composer feels no alarm or urgency towards her as he graciously accepts the offering of soup that she presents to him. They share a conversation of triviality only to please one another with the pleasure of conversation. The music in this particular movement depicts the dialogue during an elegant dance between the refined couple.
The next movement, Ritual, similar to the Dance of the Witches, is celebrative in character yet there is a clear dissonance that creates ambiguity to the listener. With this movement, the celebration from before is transformed into a final ritual. In this finale of fantasy, the composer leaves the player’s and the listener’s imagination to themselves.
In the last movement, Promenade, the composer finds himself in stride with a different witch. She is all in black from her hair to her dark eyes. In the calm tranquility of autumn, the composer accompanies the witch to the train station. Leaves float by in the aromatic wind and crunch beneath their tired feet. Upon arriving to the train station the composer feels an overwhelming sense of nostalgia for his beautiful home in autumn. A quote from the first movement is brought back reminding us of the allusiveness and parallel worlds that exist within this dream.

Amanda Kaya, November 2016