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Death-Macabre is one of my more aggressive and haunting compositions, though not as much as Le Totentanz De Cauchemar, but the reason is pretty clear with context.



Death-Macabre is a symphonic poem, based on a poem of my own writing, The Honour Of The Duel. The Honour of the Duel is a story about a man confronting the physical manifestation of his inner demons, in the form of a gaunt demon named Anathema, in a violent verbal and eventually physical duel of wills. The man and Anathema viciously argue over whether or not the man is evil, and whether or not Anathema is just the apparition of denial. The two go back and forth, Anathema taking a psychotic and aggressive route, whilst the man maintained a stance of calm and piety, arguing that a man is not what is done to him or the people he is around. Anathema gets increasingly more aggressive, at one point even shoving the man to the ground and digging his talons into him.



Death-Macabre follows this model roughly, composed of a prelude containing elements of fugal and passacaglial style, a passacaglia with rapid pace, and a fugal finale ending on a dramatic and haunting note. The piece is rather unique, in that it is entirely scored in pizzicato strings, for four of each primary string instrument: Violin, viola, cello, and contrabass. Bearing that in mind, it is actually a very difficult piece to perform, especially in the second movement, as players must play as quick as 64th notes in rapid succession in parts, keeping in mind the flow of four individuals that must come together for a single set of instruments, for each of the four sets. The parts each have their own moods. The prelude is haunting and cold, the passacaglia is meant to be terrifying and quick, and the fugue is supposed to be a macabre mix of happy and creepy.

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from Klaviergl​ü​ck, released May 28, 2014

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