IN THE HALF LIGHT       

PROGRAM NOTE
The inspiration for this piece comes from a Gregorian chant I sang growing up in a small town in Iowa.  This piece is made up of five sections grouped together in an overall arch form: ABCDEDCBA.  

The primary theme of the A section is taken from the opening phrase of the chant.  This phrase is fully stated in the flute at m.100-101. The melodic material developed from this phrase is made up of falling intervals (thirds and seconds) and their inversions.  The B section is based upon an obscure mode called the Phrygian Major/Minor.  It first appears at m.44 with D as its tonal center.  

The C section is characterized by the oscillation between two chords.  At m.72 the two chords are D major and E-flat minor.  Here a shimmering effect is produced using an acoustical comma, the Great Diesis. This comma, representing a 41 cents difference in pitch, occurs between F-sharp and G-flat.   In the D section, beginning at m.100, the Gregorian chant returns developed into a new theme.  The E section, beginning at m.125, is a four-part chorale in modal counterpoint.  After the climax of the E section the other parts are restated.  However, the restatements are not exact.  The piece concludes with a powerful coda based upon the chant.  

This work explores the inner conflict one experiences in the aftermath of a traumatic event.  The conflict ultimately reveals two choices.  The first leads to reflection and change. The second ignores the event and its consequences.  In the end each of us must decide. 

In the Half Light is dedicated to Malcolm W. Rowell, Jr.

INSTRUMENTATION
2.picc.2.eh.ebcl.3.bcl.2.cbn/2.1.1.1/4.3.3.1.1/timp/5perc/pno/db

DURATION
14 minutes

COMMISSIONED BY
2002 Ballerbach Consortium Commissioning Project – James Syler, organizer

  • California State University at Long Beach, Long Beach, California.  John Carnahan, conductor.
  • Concordia University, River Forest, Illinois.  Richard Fischer, conductor.
  • Florida State University, Tallahassee, Florida.  Patrick Dunnigan, conductor.
  • Salisbury State University, Salisbury, Maryland.  Richard Johnson, conductor.
  • Southwest Texas State University, San Marcos, Texas.  John Stansberry, conductor.
  • Trinity University, San Antonio, Texas.  James Worman, conductor.
  • University of Tennessee at Martin, Martin, Tennessee.  Gregg Gausline, conductor.
  • University of Texas at Arlington, Arlington, Texas.  Ray Lichtenwalter, conductor.
  • University of Wisconsin at Milwaukee, Milwaukee, Wisconsin.  Thomas Dvorak, conductor.
  • Williams College, Williamstown, Massachusetts.  Steven Bodner, conductor.
Frantzen’s personal sensitivity was brought to light by the lyrical lines at their moments of greatest precision and beauty.
— Williams College Record