Symphony No.8 mov.5

[Symphony,Composed under the influence of composers such as Stravinsky, Bartók,Carl Orff, Hindemith, and Hans Zimmer, as well as Primitivism,New Objectivity, and Barbarism. The music blends intensity with subtle hints of the Renaissance and the Middle Ages.this music is a contemporary work. It possesses a dark and tragic intensity that seems to tear apart the subtle classical tones.it has violence,polyrhythm,irregular syncopation which appears into intense ostinato rhythm made from strings detache,female vocal, singing,from distant another room,faint and very soft,Ambrosian chant,Gregorian chant,follow persistent repetition of Sound pattern of Carl Orff, unseen choir, ethereal voices, like singing distabt over the sky, breath of angels, Cappella Pratemsis,Vox Luminis, male vocal,HesperionⅩⅩⅠ,harp,Crwth,Rebec,Psaltery,recorder,fiddle,Vielle, strings played detache should drive orchestra,] [Verse1] O Fortuna, velut luna statu variabilis, semper crescis aut decrescis; vita detestabilis nunc obdurat et tunc curat ludo mentis aciem, egestatem, potestatem dissolvit ut glaciem. Sors immanis et inanis, rota tu volubilis, status malus, vana salus semper dissolubilis, obumbrata et velata michi quoque niteris; nunc per ludum dorsum nudum fero tui sceleris. Sors salutis et virtutis michi nunc contraria est affectus et defectus semper in angaria. Hac in hora sine mora corde pulsum tangite; quod per sortem sternit fortem, mecum omnes plangite! [Verse2] Fortune plango vulnera stillantibus ocellis, quod sua michi munera subtrahit rebellis. Verum est, quod legitur, fronte capillata, sed plerumque sequitur Occasio calvata. In Fortune solio sederam elatus, prosperitatis vario flore coronatus; quicquid enim florui felix et beatus, nunc a summo corrui gloria privatus. Fortune rota volvitur; descendo minoratus; alter in altum tollitur; nimis exaltatus rex sedet in vertice caveat ruinam! nam sub axe legimus Hecubam reginam. ====================================================== Symphony No. 8 "The Irresistible" -A five-movement symphony for orchestra, brass ensemble, medieval instrument ensemble, soprano soloist, and mixed choir- My previous work, "Symphony No. 7," received some unusually positive comments for one of my works. (I would like to take this opportunity to thank everyone who commented.) Though there are many aspects of the work that I'm dissatisfied with, I believe I was able to express to some extent the "beauty inherent in music itself" that I aimed for when creating it. I originally had plans to create a series of works on a different theme immediately after completing Symphony No. 7, rather than the currently released Symphony No. 8, but due to various circumstances, Symphony No. 8 ended up being completed first. As for the work itself, this piece attempts to express the "inexplicable negative energy" that surrounds us in the modern world, and the title "The Irresistible" reflects this. The "musical beauty" aimed for in his previous work fades into the background here, and instead, dark sounds and dark impulses dominate the overall work. Modal melodies and harmonies reminiscent of the Middle Ages and Renaissance dominate, reflecting the composer's historical and social perspective: "Although the modern world is said to have superficially developed into a futuristic information society, its true nature is not dramatically different from that of the European Middle Ages and the Renaissance." I'm prepared to be criticized for saying, "What a foolish thing to say in this orderly age!" But in the sense that this order is governed by the logic of power, human society has not changed at all since the Middle Ages. In exchange for some social networking and convenience in daily life, we live in the modern world feeling, or rather pretending not to feel, the enormous negative force of "we can know, but we cannot resist." The dark, modal sounds represent such a world. If you ask me, this is the color of the real world we live in. 1st Movement "Structure" Allegro Moderato This movement depicts how this "irresistible" thing is formed. The motif, which begins with the strings and spreads to the brass and woodwind sections, is constructed to the exacting specifications, enveloping the entire society. The occasional, wild, powerful melodies played by the brass sections demonstrate how powerful and irresistible this power is. Compared to this power, the human power expressed by a single woodwind solo is infinitesimal. 2nd Movement "Dance of Power" Allegretto In this movement, this power dances. Reminiscent of classical dance, the fast yet solemn dance immediately reveals its destructive power. Everything is caught up in the dance and tossed about. However, its power remains undiminished until the end, and the music ends. 3rd Movement "In a Foreign Land" Scherzo with Duple Time Signature Watching from a foreign land. While this power exists in foreign lands, the music, as expressed in the woodwind solo, expresses how the culture there stubbornly resists it. Fourth Movement, "Wounded by Fate" From Carmina Burana. A woman sings, "Everything is fate, there's no resisting the ever-turning wheel. Everything is inevitable." Wounded by Fate, with tearful eyes lamenting the wounds inflicted by Fate, I have read, with truth, of the cruelty of my kindness, and of the loss of my hair, though it will likely continue, though luxuriant hair hangs from her brow. On Fate's throne, I sat, proudly adorned with a garland of colorful glory. However prosperous and blessed I once was, now I am utterly destitute, and deprived of my glory. Fate's wheel turns, and when I fall, a humbled one will be lifted up in his place. So bid thy lordship on such a lofty throne beware of destruction! For the name of Queen Hecuba can be seen beneath the axle! 5th Movement "O Fate" From Carmina Burana A woman sings again. This time, many voices (a chorus) join in, making the song powerful, but there is a hint of resignation and sadness. Following a powerful orchestral prelude led by a string ostinato, the soloist begins to sing in lament, but although the singing starts out rather weak and in an exclamatory tone, it gradually blends with the voices of the crowd and becomes a loud voice that resonates throughout the world. The music reaches a climax, and just when it seems the singer has finally poured out his feelings, the music takes on a medieval sound and ends like this. Oh, goddess of fate! Oh goddess of fate, like the moon, ever changing, waxing and waning. This awful life, sometimes cruel, sometimes helpful, with its fickle will, melts poverty and power like ice. Merciless and empty fate, you are as wicked and wicked as a wheel. Even security is unreliable, and you will quickly vanish it. Hidden and veiled, you pursue me. Your cruel play now leaves me with no choice but to bare my back. Even the luck of health and talent has now deserted me, leaving me to perpetual toil. So now, without a moment's delay, play your strings. May fate cast down even the mighty. Lament with me!