9/11 and music

Seventeen years since 9/11 and so much has changed, for the worse.  From the wreckage,  came messages of love. Instead, hate has seeped into public life, poisoning the system.  A moment to reflect on Charles Wuorinen, whose Cyclops 2000 was commissioned by the owners of Cantor Fitzgerald, an unusual alliance between high finance and the avant garde.

The name is a play on Cyclops of ancient myth, who had one giant eye and could only see straight ahead. Hence, it’s written on a single constant metre. The real drama, though, comes from what Cyclops does with his single eye, or rather what Wuorinen does, within the constraints of the metre. The music proceeds in fits and starts, jerking from side to side, switching from rapid tempo to moments of still contemplation. Textures vary : sometimes soloists pulling out from the ensemble, sometimes duetting and exchanging partners in further duets. This gives the piece a strong sense of movement, even though it rises from a simple, single line.  The disparate figures are drawn together so the piece moves forward like a quirky, joyous procession, all elements moving in relation to each other, always headed towards a goal.

Read into that what you will.  The premiere was in May 2001 in London, conducted by Oliver Knussen, which was recorded. I don't know if it's been done since. On 9/11, Cantor Fitzgerald lost 658 employees outright. No one can count the full cost in terms of bereavement, PTSD, and  lives changed for ever.  Oliver Knussen is gone, too. The world is not a better place.