Composer

:

Christopher Rouse

Genre

:

Orchestral

Style

:

Character Piece

Compose Date

:

1989

First Performance

:

Oct 27, 1989

Average_duration

:

14:45

Iscariot is a composition for orchestra by American composer Christopher Rouse. It was composed in 1995 and premiered on March 7, 1996, by the Baltimore Symphony Orchestra, conducted by David Zinman. The piece is divided into three movements and has a total duration of approximately 25 minutes. The first movement, titled "Judas," is marked "fast and aggressive." It begins with a frenzied, dissonant outburst in the strings and percussion, which sets the tone for the rest of the movement. The music is characterized by jagged rhythms, angular melodies, and harsh, metallic timbres. There are moments of repose, but they are short-lived, and the music quickly returns to its frenetic pace. The movement ends with a violent climax, as if Judas is being consumed by his own guilt and despair. The second movement, titled "Peter," is marked "slow and introspective." It opens with a mournful melody in the strings, which is then taken up by the woodwinds. The music is more lyrical and expressive than the first movement, but it is still tinged with sadness and regret. There are moments of tension and conflict, as if Peter is struggling with his own doubts and fears. The movement ends quietly, with a sense of resignation and acceptance. The third movement, titled "Mary," is marked "fast and joyful." It is the most optimistic and exuberant of the three movements, with a lively, dance-like rhythm and bright, colorful orchestration. The music is full of energy and vitality, as if Mary is celebrating the resurrection of Jesus. There are moments of reflection and introspection, but they are quickly swept away by the joyful exuberance of the music. The movement ends with a triumphant flourish, as if Mary is proclaiming the good news to the world. Overall, Iscariot is a powerful and emotionally charged work that explores the complex and conflicted characters of Judas, Peter, and Mary in the context of the Passion story. The music is characterized by its intensity, dissonance, and vivid orchestration, which capture the drama and pathos of the narrative.

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