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Composed: 2020

Length: 12 minutes

Orchestration: 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 2 trombones, tuba, timpani, percussion (xylophone, glockenspiel, vibraphone, crotales, marimba, triangle, bass drum, temple blocks), and strings

About this Piece

I’ve always been fascinated with rocks and stones and sculpture—their strength, their beauty, and their magic. In Detroit, there are 12 caryatids on the baroque Book Tower. A caryatid is a sculpted female figure that also serves as a column or a supportive architectural element. A traditional caryatid is holding the roof with her head or her arms. As support and sculpture, the caryatids’ function intersects both art and architecture.

The name caryatid is derived from the Greek word, karyatides, referring to the maidens of Karyai. Karyai was an ancient Peloponnesian town with a temple devoted to Artemis Karyatis. In Greek mythology, Artemis was the goddess of wild animals, the hunt, vegetation, of chastity, childbirth, and a patron of girls and young women. To honor Artemis, Peloponnesian women would often perform folk dances with baskets of plants on their heads.

The piece follows the architecture of a building with eight sections representing the four corners and four walls. Architecturally, the piece has four structural (or column) sections (I’ve called “Fanfare,” “Midfares,” and “Postfare”). They represent the strength and columnar nature of caryatids. Each of the 12 caryatids is represented by a chord. The series of chords finally appears in order at the end of the work, but each chord is spread between the orchestral instruments, much like light at different times of the day is refracted and creates different shadows.

Between these chordal (fanfare-like) sections, are a series of Baroque-like dances, or my interpretation of a bourrée, a gigue, and a sarabande.

There have been so many strong, influential and powerful women from Detroit who have helped shape and support not only the local but also the national and international fabrics of our society (cultural, political, and scientific) that writing a work inspired by them felt very appropriate.

I’ve dedicated this work to the strongest and most wonderful woman in my life, my mother Elvyra Krausas. —Veronika Krausas