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The Awakened heart was conceived as a symphonic triptych. It’s not unlike the medieval triptychs, which would include three panels that were not only independent as paintings, but also formed a narrative or journey. In this case, the central inspiration was a journey into freedom from bondage – the path to inner freedom.
The first movement, “Into the World’s Night,” is very much concerned with awakening. It begins with a slow introduction, in a kind of dreamy stupor, almost a haze. From here we switch into a driving, obsessive movement; there is a juxtaposition of compulsive, maniacal music and what I would call lighthearted music with a certain foreboding. The movement descends into the coda, a movement of reckoning revolving around the key of B minor, a key Beethoven referred to as “the black key”
The second movement, “Epiphany,” is a meditation. A chorale repeats throughout the movement, changing itself ever so slightly as it goes. Interspersed above, below, and through the chorale is a parade of musical thoughts. If there is an epiphany in this movement, it is in the very fact that the chorale is both question and answer. This movement is the heart of the piece and also its turning point, emotionally and dramatically.
The title of the third movement, “My Hero Bares His Nerves,” comes from a poem by Dylan Thomas. This is about what one might do with this resensitization or reawakening. It’s inspired by the idea of learning courage by living fully; it’s about the path of fearlessness. The music here is every fast: it’s a kind of wild ride. And all the materials from the first two movements are brought back in different – and in some sense very visceral – ways. Of the three movements, it is perhaps the most physical.
Although I have all these titles and ideas connected to the music, I have no requirement that listeners receive this in any particular way. In fact, I would prefer that they arrive at their on conclusions!
—adapted from a note by Richard Danielpour
The Awakened Heart did what challenging pieces of music do: it set the mind free to wander into and away form the notes while exciting different senses…it was fun, bright, brash, quick, thunderous, colorful, sharp-edged, soft and invited more than ears and mind. Listeners could almost catch and touch and smell the notes flung out thick and fast, seemingly helped by every cymbal, drum, marimba, and whatnot known to modern drummer…Heart seemed here as much like a dramatic storm front moving through an other-worldly forest populated by fascinating people, animals, and birds. The full Meyerhoff Hall gave the Baltimore Symphony and a happy Danielpour a warm reception.
Ernest F. Imhoff, The (Baltimore) Evening Sun,01/01/0001