Frederick Shepherd Converse; "Ormazd", Symphonic Poem for Full Orchestra, Op.30

[Darrel Hoffman]

Here's my second piece by this American composer:

It's less of a piano concerto than most of what I do since the piano, while there, is mostly in the background rather than a featured soloist.  But a worthy piece regardless.

[Ilja]

... and one written for monumental forces:  3 flutes/piccolo, 2 oboes, English horn, 2 clarinets (A/B♭), bass clarinet (A/B♭), 2 bassoons, contra bassoon + 6 horns (F), 3 trumpets (F), 3 trombones, tuba + 3 timpani, bass drum, cymbals, gong, glockenspiel, celesta + piano + harp + strings (from IMSLP).

If I'm perfectly honest I'm not the biggest fan of most of what the New England lot produced, but this is a genuinely interesting piece. At times it is truly cinematic in its musical description of the struggle between good and evil (and the eventual triumph of the former). There's an interesting parallel with Jules Massenet's Le Mage (1891), in the sense that both works tackle the central ideas behind Zoroastrian cosmology.

The story behind Ormazd is based on the first verse of the Iranian Bundahishn, the main collection of Zoroastrian writings. It describes the primal creation of Ahura Mazda (or Ohrmazd), the prime Zoroastrian deity, and the onslaught of the Evil Spirit Ahriman. More information here. It's perhaps not entirely coincidental that Converse should be attracted to this subject, considering his fondness for the symphonic poem and the Straussian feel of his music from this period.

Fascinating work. Thanks, Darrel!