Kay, to be Determined (TBD)
by Peter B. Kay
For his biography, Haydn shared a now-famous story about his Symphony no. 45 (1772) that has captured the imaginations of countless composers. Haydn served Prince Nikolaus Esterházy as court composer for almost 30 years, a prestigious position that afforded him ample opportunities to write and even experiment with music. When the Prince vacationed at his second home – an extravagant palace that has earned the nickname “the Versailles of Hungary” – he brought Haydn and his orchestra along. As they were essentially servants, the musicians had little choice but to leave their families in Vienna and accompany the Prince to this isolated countryside estate.
Prince Esterházy was so enamored with the palace that he extended the duration of his vacation there. Wanting to return to their homes, the musicians asked Haydn to approach the Prince on their behalf. So Haydn, wrote his 45th symphony with a surprise ending, choreographed to get the Prince’s attention.
Right in the middle of the symphony’s lively and spirited finale, the music abruptly stops. It begins again, but in a slow and stately manner. As the charming melody plays, one by one, each musician finishes their part, snuffs out their candle (stand light), and exits. With only two violinists left, the symphony comes to a quiet and peaceful close.
Perhaps the story is apocryphal, but the Prince – and everyone else – returned to Vienna shortly after this “Farewell” symphony’s premiere.
In 2020, the pandemic led to arts organizations canceling live events all over the world. Soon after, I was commissioned to write a piece celebrating the return of the Spartanburg Philharmonic to the stage at Twichell Auditorium, and when I first put pen to paper, I decided to write something of a reverse of Haydn’s “Farewell” symphony. In fact, the opening phrase of the solo violin is the same as Haydn’s melody… played backward (a kind of ‘Call to Return’).
Since then, we have lived through a period of unprecedented and unpredictable change. The Philharmonic has been unable to perform for a live audience since Twichell first shuttered its doors 16 months ago, and as a result, the work has undergone numerous revisions (and a few complete reboots). Still, the initial concept remains, and the music incorporates many of Haydn’s ideas, musical and dramatic. While writing, I also took inspiration – and even borrowed a few notes – from composers Caroline Shaw, Ruth Crawford Seeger (also on this program), Henryk Górecki, and Eva Sæther. And in the final few minutes of the piece, the cellos and basses play a chorale derived from an earlier work of mine for solo piano entitled, “home.”
In some ways, this piece is a dedication to the strength and persistence of our art form in the face of extreme adversity. The tenacity of musicians to share their passion is inspiring to me. Religious-political movements, fascist military regimes, and even global pandemics have worked to silence the stage. Even today. But music is determined to be.
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Peter B. Kay is the General Manager and Composer in Residence for the Spartanburg Philharmonic as well as an educator in the community.