Natchitoches-Northwestern Symphony
Program Notes for the 2025-2026 season opening concert, September 24, 2025.
Earthrise by Dosia McKay (b. 1971, Gdańsk, Poland) (world premiere).
Composed in 2022, McKay composed this powerful work during the pandemic and then the Russian-Ukraine war. The piece is best described in her own words:
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Symphony No. 6 in F Major, Op. 68 “Pastoral Symphony” By Ludwig von Beethoven (1770-1827)
In Beethoven’s own words in a program note he wrote himself for the December 22, 1808 premiere of his Pastoral Symphony:
On another occasion, he also wrote: “Anyone who has an idea of country life can make out for himself the intentions of the author without a lot of titles.” The choice of the countryside would have been natural for Herr Beethoven. In his letters to Therese Malfatti in 1808, he wrote of his love of daily walks “where nature is so beautifully silent. How happy I am to be able to wander among the bushes and grass, under trees and over rocks, no man can love the country as I love it.” An in his 6th Symphony, he does just that. He intentionally simplifies his musical language to draw listeners directly into the emotional landscape he is painting. Repetitive and iterative themes emphasize feelings over intricate developments, thus aligning perfectly with his description of it as “more an expression of feeling than painting” as he wrote.
The interlude of the Thunderstorm provides a dramatic juxtaposition to the lighthearted nature of the preceding movement. It serves not only as a confrontation with nature’s ferocity but mirrors Beethoven’s own struggles with hearing loss and the psychological tumult that accompanies it. This experience amplifies the emotional impact of the symphony, creating a multifaceted exploration of human emotion in the face of divine creation and vulnerability.
The final movement transitions into feelings of relief and gratitude, illustrating a recovery from the storm—a reflection of hope and acknowledgment of the divine found in nature. It is a fitting conclusion, embodying Beethoven’s pantheistic spirituality, blending music, nature, and reverence for the divine.
In many ways, Beethoven’s Pastoral Symphony stands as a cornerstone of programmatic orchestral music, influencing countless composers who sought to emulate his brilliant synthesis of emotion and landscape. As we reflect on this work over two centuries later, it continues to resonate, drawing audiences into the timeless dialogue between humanity and nature, underscored by Beethoven’s unique voice that transcends both time and loss.
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Water Music (Wassermusik), TWV 55:C3, Georg Philipp Telemann (March 24, 1681 - June 27, 1767)
Georg Philipp Telemann's orchestral suite, commonly known as "Water Music" but formally titled "Hamburger Ebb' und Fluth" (Hamburg Ebb and Flow), TWV 55:C3, is a delightful and vivid example of programmatic music from the Baroque era. Composed in 1723 to celebrate the centenary of the Hamburg Admiralty, it paints a musical picture of Hamburg's relationship with the sea, drawing on both its maritime importance and mythological associations with water deities.
Telemann's suite distinguishes itself from Handel's more well-known "Water Music" by being specifically designed to highlight Hamburg's naval power and the vital role of shipping in its prosperity. It is also music about water, focusing on the ebb and flow of the Elbe river and its connection to the city.
The suite consists of ten movements, most of which are descriptive dance forms popular in French court music, which skillfully convey different types of movement and flow associated with the sea.
Overture: Opens with a slow introduction representing the sea, leading into a more energetic section that evokes Hamburg's vibrant maritime culture.
Sarabande: "Die schlafende Thetis" (The Sleeping Thetis): Portrays the slumbering sea goddess, mother of Achilles.
Bourrée: "Die erwachende Thetis" (The Awakening Thetis): A lively movement depicting Thetis's awakening.
Loure: "Der verliebte Neptunus" (Neptune in Love): Captures the amorous nature of the Roman god of the sea.
Gavotte: "Die spielenden Najaden" (The Playing Naiads): Depicts playful water nymphs.
Harlequinade: "Der schertzende Tritonus" (The Joking Triton): A bright and light-hearted movement, representing Neptune's son and messenger, Triton.
Tempête: "Der stürmende Aeolus" (The Stormy Aeolus): A powerful and dynamic movement depicting the unpredictable nature of Aeolus, ruler of the winds.
Menuet: "Der angenehme Zephir" (The Gentle Zephyr): Portrays the graceful Zephir, god of the west wind, with the elegance of a French court dancer.
Gigue: "Ebbe und Fluth" (Ebb and Flow): A swift and balanced movement encapsulating the tides of Hamburg.
Canarie: "Die lustigen Boots Leute" (The Merry Boat People): The joyful finale, depicting the happy sailors of Hamburg.
Telemann's "Water Music" is celebrated for its colorful orchestration and charming references to Greek mythology. It offers a unique blend of civic pride, mythological storytelling, and musical craftsmanship, making it a beloved piece in the Baroque repertoire.
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For more about Earthrise, please visit Dosia McKay’s website, www.dosiamckay.com
I am alarmed by humanity’s fascination with destruction. We consume hundreds of films and video games devoted to natural disasters and cataclysms. We entertain ourselves with graphic depictions of gore, violence, and human suffering. And, at the center of our psyche, there is much generational trauma passed down to us from our ancestors who lived through war, famine, or pestilence. Is it at all surprising that we see our final collective destiny in an atomic world war and complete annihilation? It is as if we never question it, and in fact, do everything to fulfill this prophecy.
As an artist and a quiet observer of intricate things of beauty found in music, visual arts, and nature, I must object to this madness. The Earth is a frightening and a dangerous place–yes, but it is also life-giving, sustaining, protecting, and in its cyclicality and self-renewal, a soothing and abundant shelter. And while many people revel in hatred and destruction of nature and fellow humans, many more work tirelessly to inspire, restore, defend, build, and to affirm life for our generation and for the future.
Composing a new orchestral piece during a worldwide pandemic and the Russian-Ukrainian war should have brought out music that was grim and menacing, but instead, I found myself chiseling a sonic space that gradually became more and more hopeful, idealistic, and even triumphant. I kept envisioning Earth gathering strength and ultimately rising to overcome the darkness and the evil inflicted on her and her inhabitants. This is my vision for the music and also for our future.
For more about Dosia McKay’s work, please visit her website, www.dosiamckay.com
Pastoral Symphony, more an expression of feeling than painting. First piece: pleasant feelings, which awaken in men on arriving in the countryside. Second piece: scene by the brook. Third piece: merry gathering of country people, interrupted by the fourth piece: thunder and storm, which breaks into the fifth piece: salutary feelings combined with thanks to the Deity.
