from the valley of dry bones

dedicated to Philip Rawlinson

Program Note

The generative image for this composition comes from the biblical Book of Ezekiel, where the eponymous prophet looks out over a “valley of dry bones”; paraphrased, the apex of the conversation reads: “The LORD asked me; ‘Son of man, can these bones live?’ I said: ‘Sovereign LORD, you alone know.’” What has informed this composition is not the theology (or even less, the possible politics) of this scene, but the psychology of hopelessness, grief, and futility in the face of inevitable loss and decay. The sense of questioning of a future resurrection has been fused to a framework drawn from Catholic poetry, mostly drawn from the Requiem Mass. This one movement, through-composed piece is cast in four sections: Introit (De profundis), Totentanz (Tuba mirum), Aria (Lacrimosa), and Finale (Libera me). While not strictly following any sort of narrative plan, the soloist plays the role of witness and actor within the scene: observing the lifeless desert, pursued by the antagonistic last trumpet, singing a voice cracking lament, then taking part in a last battle with awakened forces beyond control. The piece ends in exhausted defiance.