• Duration: 17'
• Instrumentation: 4343-5331-batt(3esec) ar pf-archi (16.14.12.10.8)
• Year: 1999
• Type: parts, score

In the title, ''Three Episodes'', 1 wanted to reflect the work's tripartite construction. Although each movement is a closed, independent musical unit, that does not mean that these movements are unrelated to each other. The first ''Episode'' can be considered as a slow introduction. Scored essentially for strings with a few gestures in the harp, the piano and the four horns, the movement centers around the tone, ''c,'' and flirts with the major/minor tonal system. An opening, ascending motive in the second violins, is repeated three times, after which a longer section begins. This latter section reaches a culmination with an espressivo theme in the first violins and violas. The whole movement is closed by a repetition of the opening motive, but in a different harmonic setting that at the beginning. In the second ''Episode'', the woodwinds have a dominant role. The form is much more complex than in the previous movement and is delineated by constantly shifting tempos. The first motive appears in tutti woodwinds, and is in a fast tempo. This is followed by a short ''arioso'' in a slow tempo played by solo oboe. Both gestures are then repeated with elaborations - the motive in the woodwinds becomes longer and the ''arioso'' is now accompanied by richer harmonies scored in strings. After reaching a small climax the main theme of the fast middle section is introduced by the clarinet, accompanied by the rest of the woodwinds. This short scherzo is characterized by a very light mood and joyful harmonies. This narration is suddenly interrupted by the return of the ''arioso,'' now however, featuring the clarinet in a solo role. After a passing of slowly-moving harmonies in the strings, the flute and glockenspiel recall the very first motive of the movement, but now in a different, closing context. The third ''Episode'' is designed to be the culmination of the whole, short cycle. The main musical content is comprised of three themes, which are developed and transformed through out the movement. The first theme, which appears immediately at the beginning is the most powerful and aggressive. lt is accompanied by the same chords that underscored the woodwind motive at the beginning of the second Episode. After a section based on the ''arioso'' from the second movement (now stated by the horns), the first theme comes back again, presaging the appearance of the second theme. The second theme is scored mainly for the woodwinds in unison with the accompaniment in the string section. Its character can be describe as a playful and light. This theme is concluded by a short reminiscence of the horn passage initially presented by the horns, but this time scored for violins and violas. After a brief pause the third theme is presented in the violins. This moment is the most lyrical of the final Episode. The piano and the harp provide the harmonies that serve as a background for the violins' ''aria.'' The third theme is followed by a modified recapitulation of the first and the second theme. The movement is powerfully closed by a statement of the third theme, but using the full orchestral forces.