Theodore Wiprud’s Wind of Many Voices


Just like the changing North, South, East, West winds to which the ancient Greeks respectively assigned the names of Boreas, Notos, Eurus, and Zephyr, endowing them with the sometime beneficent, sometime deadly, and often capricious attributes of minor deities, so do the moods of Theodore Wiprud’s compelling composition Wind of Many Voices morph by way of tempi, harmony and orchestration ever depending on which way the wind blows in the context of this intriguing work’s programmatic musical narrative.

Auspiciously opening with a noble brass fanfare and ending abruptly, Wiprud’s 17-minute tone poem follows its own compositional path, avoiding atonal clichés and abundant with sudden changes, gradual crescendi that build up to deafening climaxes only to then vanish into moments of moody quietude, dramatically abrupt stops and starts, and surprisingly brilliant touches of orchestration. Short snippets of melodic motifs give way to dissonances, massive cluster chords and unpredictable harmonic changes creep up only to scurry away.

Wind of Many Voices is given a superb reading by the South Dakota Symphony Orchestra, conducted by Delta David Gier in a Soundcloud world premiere recording available on the composer’s website: 

Rafael de Acha   http://www.Rafael’