Katharsis means « purification » in Greek. My intention was to create a purification in the sound of the brass band. This is the reason why the whole band begins muted. I have combined different types of mutes to obtain different qualities of sound. The brass players gradually remove their mutes at different points in the piece, creating a crescendo throughout.

There is all in all only one motive (two quarter notes and one triplet). This motive is the only material used at the beginning and the end of my piece. I then progressively turn this motive into different thematic materials: first very rhythmical, then more lyrical, and finally fast and dancing.

The piece begins with four minor chords. I understand it as a metaphor for a “rule of life” or a way to happiness. Unfortunately, it seems like our way remains vague and distant because of the mutes and the minor mode, as if we have forgotten it. The purpose of the piece then is to reunite these chords  again. After the introduction, these chords move away from each other, becoming distinct tonalities. As a result, our rule of life is completely drowned in the fast tempo and the different rhythms.

The more we go through the piece, the faster the music switches from one tonality to another. This phenomenon goes on until the first sequence of major chords. Here, the main motive becomes predominant again. However, it is necessary that we bring the introductory material back, reuniting the four chords, in order for us to complete our purification. This happens at the very end of the work, but this time all the brass instruments play open and the chords are now major.



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