The positive reaction to our premiere of Mark Francis’ new work in Amsterdam led me to revisit the score.
Subtitled “In Somnis Verita” which means “in dreams there is truth,” the 2nd guitar concerto contains three movements albeit the composer had originally conceived of five. He wrote in the programme notes for the orchestral premiere in Jackson, Mississippi, “It is my belief that many people refuse to acknowledge what is true when they are conscious, but can’t escape from what they know to be true in their subconscious when sleeping. These things manifest themselves in dreams. Our subconscious will cobble things together in all kinds of strange scenarios. The music tries to depict these cobblings.”
A few days after the concert, I listened to the live recording of the orchestral premiere. I saw the piece come to life —- what the piano could not fully muster.
We had performed the first movement faster than the composer had intended (quarter note = 72). After the concert, we read Mark Francis’ programme notes, “The tempo of the first movement is slow, which sets the stage as our ‘dreamer’ drifts off to sleep and begins to dream. The opening triplet motif represents breathing. These are gentle dreams filled with longing and nostalgia. This movement is set in a kind of arch form.”
Who is the composer, Mark Francis? He is a guitarist. He knows how to write music that guitarists like to play. That is very important. He wrote the second concerto specifically for guitarist Jimmy Turner, music director Wayne Linehan and the Metropolitan Chamber Orchestra in Jackson, Mississippi.
How did we discover Mark Francis? None other than my Call for Scores for multi-hand piano duets! He submitted two pieces which I will mention in a future blog post. Noticing that I had a piano guitar duo, he asked if we’d be interested to see his new concerto — reduced for piano and guitar. That’s how it started. Now I am even more curious about his first concerto and other works.