In 1939, E. B. White, having attended some kind of exhibition of (then) modern
interior design while feeling rather unwell, returned to his office at
The New Yorker and composed a brief
essay entitled The Door. This work
is less remarkable for its subtext (a generic and unexamined anti-modernism
of a kind that was fashionable at the time and in that venue) than for its
style, which is hallucinatory and free-associative without being self-
consciously obscure. As such, it defies metaconvention (optional) as well
as convention (mandatory).
The same imperative to defy metaconvention motivated the composition (during August 2019) of this musical work, which has a concertante solo part without being a "concerto". It is a fantasy, within which a "scherzo"-like section and a "slow-movement"-like section may be identified -- or not, as you wish.
The solo instrument is accompanied by four horns, snare drum, and strings.
Copyright © 2015 -- 2020 Frank Wilhoit