Legacy for string sextet

Commissioned by The Cleveland Orchestra: Franz Welser-Möst, Music Director

INSTRUMENTATION

2 violins, 2 violas, 2 cellos

PROGRAM NOTE

During my time as the Daniel R. Lewis Composer Fellow of The Cleveland Orchestra, the “In Community” Chamber Concert Series was born. This initiative brought together various community organizations from across Cleveland to collaborate artistically with myself and members of the orchestra. Alongside our partners—the H.K. School of Bandura, The Fatima Family Center, and Karamu House—we curated a special series of chamber music concerts. Each program drew inspiration from the unique missions and histories of our collaborating partners.

Despite the diverse interests and backgrounds of both the orchestra and our partners, there is an undeniable commonality: a steadfast commitment to preserving legacy. For the H.K. School of Bandura, it’s about preserving the legacy of a cherished instrument, native to Ukraine. The Fatima Family Center is dedicated to honoring the history and people of the Hough neighborhood. At Karamu House, the focus is on celebrating the legacy of black American theatrical artists and writers. And, of course, for The Cleveland Orchestra, it’s about upholding its reputation as one of the nation’s premier orchestras.

One interpretation of legacy is that it is something passed down from ancestors or predecessors. I took this concept and infused it into the music, creating a recurring musical theme that evolves and develops throughout the work. Very vocal in nature, this legacy theme carries a spirit of ancestral song. Much like legacy in reality, this theme faces interruptions and reinterpretations but remains consistent and recognizable. Just as in life, the continuity of legacy may be challenged, but with dedication and acknowledgment, it can thrive and evolve. As a nod to our musical journey, I paid homage to all collaborators by incorporating various musical styles heard throughout our series, including influences of the bandura, blues, and, of course, virtuosic string playing.

— Allison Loggins-Hull

PERFORMANCE NOTE

The 4:3 rhythm can be interpreted as dotted 8th, 16th tied to 8th, 8th tied to 16th; but all notes must be short and equal.