Leviathan of the Ancient Deep

“Leviathan of the Ancient Deep”

The word “Leviathan” comes from the Hebrew word meaning “one who twists and coils,” or “the winding one”. This musical work is a depiction of the ancient Dragon of the Sea depicted in the Bible and other rabbinic texts. According to Job, “Canst thou draw out leviathan with an hook?... Shall not one be cast down even at the sight of him? None is so fierce that dare stir him up… His scales are his pride, shut up together as with a close seal…his eyes are like the eyelids of the morning… Out of his mouth go burning lamps, and sparks of fire leap out. Out of his nostrils goeth smoke, as out of a seething pot or caldron. His breath kindleth coals, and a flame goeth out of his mouth. In his neck remaineth strength, and sorrow is turned into joy before him…. When he raiseth up himself, the mighty are afraid: by reason of breakings they purify themselves. The sword of him that layeth at him cannot hold: the spear, the dart, nor the habergeon… He maketh the deep to boil like a pot: he maketh the sea like a pot of ointment. He maketh a path to shine after him; one would think the deep to be hoary. Upon earth there is not his like, who is made without fear. He beholdeth all high things: he is a king over all the children of pride.”

Three Movement concerto for six-string electric violin, Electric Wind Instrument, Synthesizer, and Chamber Orchestra

Taking its cue from the description of this awesome Creature of antiquity and imagination, this concerto features the virtuosic properties of the six-string electric violin with its immense range, while the various and creative sounds available to the synthesizer and electric wind instrument (EWI) enhance the beauty of the acoustic orchestra. Ideal set-up must take into account that the three electronically powered instruments are to be a part of the acoustic world, and their sound must blend with it as such...No pedals or additional equipment is necessary for the violinist in this work; only the natural timbres and the vast range of the six-string electric violin are called for. However, the soloist should take note that an original Cadenza is to be executed toward the end the third movement. He or she may feel at complete liberty to construct a cadenza according to the soloist’s personal style and instincts. It is the suggestion and wish of the composer that the soloist utilize the wealth of thematic material already presented throughout the work up to the point of the cadenza’s appearance, but the manner in which it is presented is left up to the soloist...This cadenza is in homage to both the traditional concerto style and to the typically improvisatory nature of the electric violin.

A final note on performance is to the enormous use of percussion in this work. While it is necessary to maintain adequate balance between all voices, the percussion is meant to stand apart as an entity unto itself, to evoke an air of tribal antiquity with sounds reminiscent of Japanese taiko and Middle Eastern drumming practices. In the third movement especially, the percussion is to act as an equal partner with the violin solo and EWI, allowing the orchestra to speak in turn only after these are finished.