Poem
Written for Dzidra Traun
(1923 - 2009)
Instrumentation
To be balanced one to a part with the exception of the flute section,
which should be of modest size.
Flute
Oboe
1st Clarinet in B flat
2nd Clarinet in B flat
Bass Clarinet in B flat
Bassoon
1st Alto Saxophone
2nd Alto Saxophone
Tenor Saxophone
1st Horn in F
2nd Horn in F
1st Trumpet in B flat
2nd Trumpet in B flat
1st Trombone
2nd Trombone
Tuba
Percussion:
(4 players)
Prayer Stones
Triangle
Crotales
Small Gong
Vibraphone
Triangle & Crotales can be covered by the same musician,
with Prayer Stones covering the Triangle part at “D”.
(See cues in parts.)
Staves with combined parts are tutti unless otherwise marked.
Duration: Approximately 4 minutes
A Note from the Composer
Regarding Performance and Inspiration
Dzidra Traun was born in Latvia, June 25, 1923. She was a lover of fine music, whose passion for the arts endured despite a horrific journey through the Baltic States and Germany during The Second World War. Those from her home were not particularly well publicized for enduring wartime discrimination, but Dzidra suffered through the conflict as did many of her countrymen; some who survived and many who did not.
However, Poem was not written in recognition of the Holocaust. This genre has already been honored by many great composers; Poem is an expression of one individual's spirit, and the strength of will which allowed her to survive.
It is a gift we do not often reflect upon: to be ignorant of the horrors war. I am grateful to have never witnessed my family shot by firing squad, to have only heard and read that the remains of murdered persons were canned and distributed in concentration camps as food. But, Dzidra Traun and others survived these appalling tragedies, and this perseverance of will is worthy of recognition.
Poem is modest in length, a reflection on moments of kindness during times of disaster. In speaking with Dzidra, it is clear to me that during that devastating history, no instance of joy was truly without some undertone of sadness, and even the brightest forms of heroism did not remove all shadows. It is for this reason that the harmonies in Poem are intentionally dissonant, exposed, and often left unresolved.
Percussionists, be delicate as you present the introduction. Many pieces have portrayed loud and chaotic violence, and while this section is rhythmically contemporary, I wrote it in hopes that it would be felt as a personal, concealed kind of churning. It is that moment when the soul looks back in reflection, not a time of rage or fright.
Wind players have their highest responsibility in maintaining a gentle tone. This is, of course, an introverted piece, and while subito fortes and a full sounding climax are written, they are meant to represent internal triumphs, apart from the external nature of war, and best recognized from within.
Music performance is largely about communication of artistry. Yet in writing a piece for a relative, composers run the risk of creating something so personal it is truly understood only between themselves and the dedicatee. Familial relationships create their own unique culture, after all. However, I venture that Poem may find its way into the appreciation of other music lovers despite its clandestine nature. My hope is that within this short piece others might also recognize those feelings we keep to ourselves; inner thoughts, which are kept close to who we are.
In remembrance of Dzidra Traun, and as my own way of placing
my grandmother alongside the historical figures of text books, priceless scrolls,
and all the written accounts of great war heroes.
my grandmother alongside the historical figures of text books, priceless scrolls,
and all the written accounts of great war heroes.