Orianna Webb -- Works
Sequence Dreams takes as its starting point the lower voice of Laude jocunda, a sequence from twelfth-century Aquitaine. Like a Renaissance cantus firmus, Laude jocunda serves as a foundation for the progress of each movement. However, it does so in a variety of guises, existing as a linear whole in some movements, and as fragments in others; sometimes it floats on top and sometimes it oozes under the surface.
Mvt. 1 presents the cantus prius factus as though it were being shouted out in bits in a cathedral.
The mood of Mvt. 2 is best described by its title, "Dream Sequence." The figures in the marimba part are drawn from the proportions of the pitch collection that makes up the Laude jocunda fragment.
Mvt. 3 is the most serious of the movements, combining the Renaissance concepts of literal cantus firmus and golden sections with the drama of dialogue.
The "Village Dance" give the cantus in a new mode, interrupted by a dance solo from the villager responsible for providing the mostly-empty glass beverage bottles that accompany the tune.
The final bagatelle is a raucous high-speed chase through the melodic contours that make up Laude jocunda.
Sequence Dreams was commissioned by the Akron Art Museum and Mr. and Mrs. Rory O'Neil for the exhibit Ohio Perspectives: Reflections in Glass
The original version was premiered by Roger Zahab, violin, Kevin Dufford, marimba, and Ronald Martin, glass instruments. The revised version was premiered by Soh-Hyun Park, violin, Scott Christian, marimba, and Meghan Swanson, glass instruments.
Sequence Dreams is dedicated to my father, Thomas Webb.