Fantasia for Orchestra “Labyrith”

Fantasia for Orchestra, “Labyrinth,” invites listeners on an evocative sonic journey through an enigmatic maze, traversing landscapes from serene dawn to tumultuous pursuits. The composition harnesses rapidly shifting tonal clusters, synthetic scales, and atonal procedures to evoke a rich tapestry of emotional resonances. Structurally, the work is delineated by rehearsal letters, each marking a distinct phase in the labyrinthine narrative:

The main theme is introduced in section A, set within a texture of rapidly shifting but closely related tonal centers. This creates a sense of tonal ambiguity, establishing the overall atmosphere of the piece.  Section B functions as a short transition. The number of sharps increases by one in each measure, while continuous timbral movement across instrumental groups builds momentum and leads into the contrasting material.

Sections C and D begin with whole-tone scale usage and gradually move toward synthetic six-note scales. These are contrasted by tetrachords a tritone apart. Woodwinds and brass are orchestrated in overlapping overtone-based intervals, forming compact three-note harmonies. Periodic interruptions from percussive col legno battuto strings add textural contrast.

Sections E and F present a variation of the A and B material, now using eight-note artificial scales. Additional pitches are gradually introduced to increase dissonance and harmonic complexity.

Section G expands the percussive material from C, now in an irregular 5/8 meter. Rhythmic groupings such as 2+3 and 3+2 are emphasized, supported by high-register solos (e.g., piccolo and trumpet). Contrasting instrumental combinations highlight the irregular subdivisions.

Section H transitions from an octa-tonic harmonic environment into more freely atonal writing. This leads into the most structurally complex part of the work (sections I and J), where three dominant-based chords (G7, Ab7, Aadd♭9) are reorganized into a twelve-tone series. Fragments from the main theme reappear embedded within hexachordal textures. These are expanded through strong dynamic shaping, fanned-beam groupings, and doubling rhythms, simulating echo effects similar to those heard in reverberant spaces.

In section K, the fanned-beam gestures are extended into symmetrical wave-like figures, while retaining the twelve-tone harmonic language. This section explores extreme instrumental registers and contrasts between bright and warm timbres.

Sections L through P revisit earlier thematic materials while incorporating new melodic elements and altered textures.Section Q continues the use of extreme registers to create a dense, ascending sonority. The texture suggests spatial disorientation, further reinforcing the labyrinth concept. 

Finally, sections R and S return to the twelve-tone material with more systematized treatment. Triple divisi in the strings generates an airy, transparent texture to close the piece.