Randall Fleischer's Triumph
Written in consultation with R. Carlos Nakai and The Jones Benally Family
Native Flutist R. Carlos Nakai
Triumph is a new symphonic work which features traditional Dine' (Navajo) songs, dances, and the Native American flute. This spectacular and groundbreaking combination of orchestral music interwoven with traditional Navajo melodies includes the Dine's songs, "Eagle Dance," "Feather Dance," "Gourd Dance," and "Hoop Dance." The title Triumph comes from the belief that when different cultures combine lovingly, respectfully, and creatively, the human race triumphs. The Flagstaff Symphony played the world premiere in March, 2006.
"Eagle Dance" is a traditional dance representing protection. The music opens with a hauntingly beautiful duet between the Native American flute and various woodwinds. During these duets, "ghostly shadows" quietly and ominously interrupt. These shadows, which represent future danger, are themes which will reappear later in the piece. A melancholy beauty pervades the opening section. The dancers begin to chant the "Eagle Dance." A large orchestral crescendo begins as the sun rises on a full presentation of "Eagle Dance." As the dance is completed, the orchestra swells to bring the movement to a close.
"Feather Dance"- This dance is part of a nine-night ceremony called the Night Way chant. Mirroring the ceremony, the dancers represent healers providing medicine to a patient. The movement begins with a series of drum rolls honoring the Native tradition of beginning each dance similarly. As the Native flute enters, it plays the role of a bird looking down on the earth with clarity and prophetic vision, expanding into a full solo section with orchestral accompaniment. This section, almost like a brief slow movement, is a prayer or a sermon- a statement of peace. The Native flute is interrupted by a huge orchestral hammerstroke which announces the beginning of an "argument" in the form of a fugue. This fugue builds to a tremendous climax- thundering, pounding, and dramatic. The dancers enter as the climax fades and begin the rhythmic, optimistic feather dance accompanied by shimmering strings. Feather dance is interrupted by shockingly by a reprise of the fugue and Feather dance and the "argument" theme combine, bringing the movement to a dramatic close.
"Gourd Dance" begins with dramatic and dissonant rhythms which represent factory sounds from the Industrial Revolution. Clearly the antithesis of the more harmonious cultures of the plains, these frightening industrial sounds thrash, run, squeal, and crash their way to a huge orchestral climax. As this section slowly dissipates, the beautiful "Gourd Dance" begins. "Gourd Dance" which is a traditional song representing healing and medicine, is presented- first a capella, then with rich orchestral accompaniment. As this section builds and builds, the industrial motives slowly return and the two themes (and cultures) struggle, at times, violently. This ugly confrontation fades and all are left exhausted from the fight.
The final movement begins without pause, growing directly out of the ending of the previous movement. The beautiful duet and ghostly orchestral shadows that opened the work are reintroduced. The strings recall the opening flute theme and lead the orchestra through a huge crescendo directly into the "triumph" theme, which is stated in fanfare fashion then repeated with full orchestration leading directly into the first chorus of "Hoop Dance." The music becomes dissonant again and the industrial theme crashes into the texture- evolving into a clashing struggle between "triumph" and "industrial" themes. The "triumph" theme finally emerges, leading us into another chorus of "Hoop Dance". The argument theme interrupts and once again "argues" with the "triumph" theme in dramatic conflict. Finally, the "triumph" theme emerges once again in a blazing orchestral crescendo, which takes the work to its conclusion with optimism and energy.
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