Melancholia for Orchestra

Description of the composition
Melancholia for Orchestra was inspired by Lars von Trier's film Melancholia. During my undergraduate years, I was captivated by the film, particularly by how the director infused the entire work with a deeply melancholicatmosphere. I was struck by the contrasting attitudes and behaviors of the two
protagonists—one suffering from depression and the other not—toward theimpending end of the world. Additionally, I was deeply impressed by Trier'sintention to visualize depression through the brilliant and cataclysmic explosion of Earth.
This concept first came to me 10 years ago as a freshman, and I composed an orchestral piece on this theme. However, I felt that my skills in orchestration and musical expression were still lacking. I promised myself that I would return to this theme once I had established my own musical language. Now, a decade later, I feel that the textural elements and the interplay between pitch and noise, which are central to my current musical approach, resonate with this theme. In this work, I also wanted to incorporate harmonic elements, specifically the Tristan und Isolde chord by Wagner—the only music used in the film. I have a personal affinity for this mysterious harmonic color, and I wanted to reference it throughout my piece as a nod to the film’s intent.
Inspired by the film, I first wrote a short poem, which served as the structural basis for this symphonic poem, divided into three parts. Each stanza of the poem naturally became the mood and theme for each section of the work:
Intricately entwined glass beads within the inner self.
Subtle dissonance flowing in a tranquil breeze. (1st part)
Gradually tightening obsession in lingering echoes. (2nd part)
A thundering clash creeping upon the oppressed soul. (3rd part)
Resplendent explosion, inner peace, and liberation. (Epilogue)
Lars von Trier, who personally experienced depression, masterfully captured his deep understanding and creative vision of this condition in his film. By juxtaposing emotions such as melancholy, anxiety, and despair with the grandeur of a planetary collision, he created a profound visual masterpiece.
To capture the corresponding atmosphere at the beginning of the piece, I incorporated piano strings resonating with metal bowl sounds,(related to waterphone sound, which may appear from the 2nd part of the piece) combined with high partials from the strings' harmonics and subtle beating
effects arising from microtonal discrepancies. This approach aimed to establish a unique texture and timbre for the work.
The second part focuses on the theme of breathing (inhaling and exhaling) to evoke a sense of tightening and growing tension as the planetary collision approaches. To reflect the breath's increasingly labored and returning rhythm, the tempo fluctuates frequently and fluidly, mirroring the irregular pattern of breaths that become more rapid and then return to a more relaxed state. This section builds a progressively denser texture based on this concept.
In the final section, the heartbeat is represented by a kick bass drum, layering strong low frequencies and thick harmonies with extended beating effects. This culminates in a vivid representation of the planetary collision
through the bright, shimmering timbres and textures of the multiple Tristan chords in the tutti.
The epilogue reflects the film's core theme of destruction, apocalypse, andrelief, using the airy sounds of wind instruments to convey the final release and sense of relief enhanced by the shimmering timbres of the crotales and
the strings in the background.
This approach was designed to evoke a specific harmonic direction and mood. By integrating these elements, the composition reflects my attempt
to convey the intricate emotional landscape inspired by the film, while also exploring my own musical language and textures.
I dedicate this symphonic poem to these two great artists: Lars von Trier and R.Wagner and their masterpieces.
Premiered by Detusche Radio Philharmonie Orchestra, conducted by Manuel Nawri