On Tragedies and Dedications
Jan. 9th, 2006 09:12 pm![[personal profile]](https://www.dreamwidth.org/img/silk/identity/user.png){kind=small}
kenjariThere was something about the recent mine accident in West Virginia that really got to me in a way I find hard to put into words. When watching or reading the news, my first thoughts were always of the miners, and if they'd been found yet. I was crushed when I read that only one miner had survived (I had missed the rroneous report that they were alive). I really wanted all thirteen of those men to come out of that mine alive, instead of one. I feel, in a way, as if that's what should have happened. Usually, no matter how much sorrow I feel over something like this, it doesn't strike me in this way. I usually feel more like what I am, an outside observer.
I rarely dedicate my compositions to anyone or anything, and when I do, I think long and hard about it. Most of the time, the piece so dedicated was written with the dedication in mind from the very beginning. I feel that dedications are special things and not to be attached to a piece lightly. Nine times out of ten, when I consider a dedication after the fact, I decide against it.
However, I can't exactly ignore the fact that I finished my large ensemble piece right around the time of the Sago mine explosion. And this piece is called Under Earth, with movements titled Caverns, Spelunking, Water on Rocks, and Phosphoresence. Although the piece is not program music or meant to be a direct representation of underground caves and tunnels, it was inspired by subterranean images. So I've decided, after plenty of reflection, to dedicate Under Earth to the 13 miners trapped in that explosion.
I rarely dedicate my compositions to anyone or anything, and when I do, I think long and hard about it. Most of the time, the piece so dedicated was written with the dedication in mind from the very beginning. I feel that dedications are special things and not to be attached to a piece lightly. Nine times out of ten, when I consider a dedication after the fact, I decide against it.
However, I can't exactly ignore the fact that I finished my large ensemble piece right around the time of the Sago mine explosion. And this piece is called Under Earth, with movements titled Caverns, Spelunking, Water on Rocks, and Phosphoresence. Although the piece is not program music or meant to be a direct representation of underground caves and tunnels, it was inspired by subterranean images. So I've decided, after plenty of reflection, to dedicate Under Earth to the 13 miners trapped in that explosion.
