"Canzona"---a musical composition for concert band
Awati, Kedarnath Manohar
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This Canzona for concert band is in four movements that are closely related to each other thematically. The piece abandons for the most part the modernist synthetic approach to composition, opting instead for a "syncretic" approach choosing elements of both the Indian sub-continental traditions of melodic registration with some of the formal aspects of the Occidental tradition. The first section states a melody in two parts, each part repeated. After the statement, the first part begins again but gets lost in a series of liquidations. A crisis involving the sharpened fourth and flattened sixth briefly appears, but is averted as the last phrase of the melody closes the section. The second section is an animated dance, in fact it is practically a baroque pastiche but in the middle section there is a plaintive recall of the crisis of the first section. This now functions as a way of "converting" the "western" theme of this section into an oriental counterpart. A minimalist technique dominates the third section where the composer's version of an North Indian folk tune is restated by different instruments by way of a mensuration canon. The introduction to the fourth movement uses abstracted fragments from the preceding music. The composer's score also provides for the possibility of significant differences in different performances of the work. Tubular bells, the glockenspiel and the celesta are added to the normal complement of a concert band in the composer's version. The fourth section is a fugue of sorts (it is a fugue occasionally accompanied by a drone involving different instruments at different points) capped by a brief peroration where the possible crisis of the first section is again transformed into viable melodic material.