DANIEL GILLIAM | COMPOSER

© daniel gilliam & fictive music (ASCAP). Purchase scores at Fictive Music.
Email me.

This evening’s premiere by wcfsymphony & jasonweinberger should be perfect. More about the piece at danielgilliam.com/sweetrivers

This evening’s premiere by wcfsymphony & jasonweinberger should be perfect. More about the piece at danielgilliam.com/sweetrivers

I’m drawn to texts, even in non-vocal music. How can a title, or indication to the conductor or player change their performance? Even though this work isn’t vocal, and as I mentioned before not a traditional arrangement, the text can help shape the sound, direction, mood, etc. The hymn’s vivid text, written by John Adam Granade (1803), starts as aspirational and dreamy:

Sweet rivers of redeeming love

Lie just before mine eye,

Had I the pinions of a dove

I’d to those rivers fly;

Then the mood changes and we’re caught in an upward draft, watching the ground beneath our feet become smaller:

I’d rise superior to my pain,

With joy outstrip the wind,

I’d cross o’er Jordan’s stormy waves,

And leave the world behind.

Here’s the music from the hymn at this point: image

View larger version

This is also the climactic moment in Sweet Rivers (my work), with horns playing the tune, almost verbatim (with some rhythmic adjustments). The earlier, falling “F down to C” interval becomes the rising “C to F” interval in the hymn on “I’d rise…”

image

View larger version

(Hear Sweet Rivers played by wcfsymphony & jasonweinberger on September 6th at 7:30pm)

The tune and harmonization is by William Moore (1825). Here is an “authentic” performance of “Sweet Rivers” (the hymn) by Allison’s Sacred Harp Singers recorded in 1928.

Sweet Rivers isn’t an arrangement of the hymn by the same name, and the hymn’s influence is subtle and mostly unrecognizable. In a way, I stole some of the best parts (chords, intervals, etc) and used them as binding agent. I’ll write about one exception to this in my next post.

The two pitches that hold the work together are F down to C (or later C up to F). They’re heard in the first 10 bars, at least twice. This “falling” interval gets inverted later, at the aforementioned climactic moment (next post, remember?). Here are the strings as the music begins to take shape. 

View larger version

Barely a minute and half into the music, there’s an abrupt key change along with sharp, accented debris that tries to disrupt the motion forward. The orientation has shifted, but we’re still pointed in the right direction.

View larger version

The next two minutes of music have strings creating gentle glissandi, an eight-bar arioso for solo cello (with strings hovering over it and a pulsing marimba rippling underneath) a full, thick orchestra swell and woodwinds that evaporate, all before a climactic moment.

Hear all of this (and more, including Duke Ellington!) on September 6th at 7:30pm, with jasonweinberger & wcfsymphony on the Cedar River at Riverloop.