Emergence

A second piece for orchestra in a row. And this time, it didn't take 9 years, only about two weeks. What happened is that I was working on another recently started orchestral piece, and had a passage for piano that I thought didn't quite fit and also might sound better with brass, so I started a score for brass ensemble, and was going happily along (briefly) until I realized that it needed more than just brass, so it ended up making its way into a new orchestral score the same day it had first surfaced in its original home. It's still predominantly brass, but I let other instruments get in on the fun... but without the piano.

It starts off in A minor, shifts into the relative major of C for a brief fanfare episode in the trombones and trumpet (in 6/8), then back to A minor (and 4/4) for most of the remainder, but when the fanfare material returns, instead of going to C Major again retaining the same key signature, it goes into A Major for a much brighter ending. Some of the woodwinds don't have much to do in this, but hey, at least they got into the game in what was initially going to be just brass.And the first bassoon has what is probably my favorite line in the whole piece. I could probably expand this into a much longer piece, but 5 minutes seemed sufficient to express what I wanted to right now. Maybe I'll come back to this.

As for the title, it possibly does mean what you might be thinking at the time of its composition. Or maybe not, depending on which particular events (or overreactions) you happen to have on your mind. I don't think I'll elaborate further on that, other than to say that it's definitely not about tearing things down.