Lots of great discussion and Youtube examples of candidates for the concerto at this link. Some fantastic pieces there, many of which were, I’m ashamed to admit, new to me. Really cool stuff.
It was a symphony of triumph. The notes flowed up, they spoke of rising and they were the rising itself, they were the essence and the form of upward motion, they seemed to embody every human act and thought that had ascent as its motive. It was a sunburst of sound, breaking out of hiding and spreading open. It had the freedom of release and the tension of purpose. It swept space clean and left nothing but the joy of an unobstructed effort. Only a faint echo within the sounds spoke of that from which the music had escaped, but spoke in laughing astonishment at the discovery that there was no ugliness or pain, and there never had had to be. It was the song of an immense deliverance.
I’ll be excoriated for it, but when I most recently reread Ayn Rand’s description of Halley’s 5th Concerto, I immediately thought of the piece below, and it stuck. Perfect for whistling on a train, too!
If using movie pieces. For Ayn’s description of Hallie’s Concerto I would have also taken the closing piece from Mr. Holland’s Opus.
http://www.youtube.com/watch?v=-jM9MC7t-8g
Interesting stuff. Good write-up at Halley5.
I notice, once again, that around Vienna they often use instruments entirely foreign to most Americans. One can spend a lifetime in the music business in America and never see a horn, in person, like the ones in the video. Nice touch too, with the zip-ties. They should call me. I could make those unnecessary.
As a horn player, me likey!