Heart Of Darkness (Orchestral)
Conrad’s “Heart Of Darkness” was written in 1899. For me it most vividly tells the story of the journey of Marlowe and his ultimate meeting with Kurtz and his Heart of Darkness. The stages cover Outer Station, The Jungle, Central Station, The River, Inner Station and Departure. Kurtz’s shadow progressively looms larger moving from light to dark as Marlowe learns about him. The essence for me is the Marlowe’s ultimate confrontation with parts of himself seen through the lens of Kurtz as these quotes attest,
“He struggled with himself, too. I saw it -- I heard it. I saw the inconceivable mystery of a soul that knew no restraint, no faith, and no fear, yet struggling blindly with itself.”
“Anything approaching the change that came over his features I have never seen before, and hope never to see again. Oh, I wasn't touched. I was fascinated. It was as though a veil had been rent. I saw on that ivory face the expression of sombre pride, of ruthless power, of craven terror--of an intense and hopeless despair. Did he live his life again in every detail of desire, temptation, and surrender during that supreme moment of complete knowledge? He cried in a whisper at some image, at some vision--he cried out twice, a cry that was no more than a breath: The horror! The horror!”
Piano Work
This story of Marlowe and Kurtz set against the backdrop of the corruption, madness, hope and fear, love and loss in the Congo became an obsession to turn into a piece. Having been completely carried away over the course of a year, the piece became overripe with so many musical ideas after a thorough study of the book (there’s plenty to use in other works) that it deserved to become a symphony.
In the end a severe pairing down was necessary to two main melodies - one for Marlow and one for Kurtz - that reveal themselves over the course of the piece and ultimately contaminate each other. The strong rhythmic support is intended to evoke the backdrop of Marlowe’s journey from the Outer Station to Inner Station. This synthesis between the two melodies to reach a reconciliation or in this case a contamination feels like a recurring motif in many of my more recent pieces.
Orchestra Work
While starting work on a 2nd Solo Piano album “Seven Basic Plots” I was still musing on the idea of Heart Of Darkness becoming a symphonic work. During lockdown, in discussion with Luis Mota, my composition coach, this adventure took shape. Although I’d never worked with an Orchestra fter a few of Luis’ iterations of the score arrangement and orchestration we felt it was in a great shape and we moved forward at pace. Thanks to Youth, Mike McEvoy and Mark Wyllie among many others for their wisdom on this type of project. We settled on Mikel Toms’ Czech TV Orchestra in Prague. I was incredibly excited and nervous as to whether we’d get a great, good, indifferent or poor recording; it was like diving into the abyss. In November, the day came, sadly remotely via internet audio and visual links. The piece is actually quite complex and moves through many changes and at points I felt we wouldn't get to the end of the piece before our time was up. Thankfully working with an amazing orchestra and team all pulling together to create “Heart Of Darkness” it was completed within the time available.
For me the symphonic work transcends the scope of the original piano piece with the psychological darkness, visceral rhythm and dissonance operating in overdrive creating an eight minute emotional rollercoaster . I’d love to be able to compare it to the way that Scott Walker’s “Seventh Seal” encapsulates Bergman’s film in 3 minutes, with a cinematic narrative keeping engagement throughout. “Heart of Darkness” is further enhanced by the colour and intensity of a mesmerising video, created by Mark James.
I hope you have as much pleasure listening and watching, as we had in creating, “Heart Of Darkness”.