COSMICOMIC

for full orchestra

Work Details

Instrumentation

3(2,3=picc).3(3=corA).3(3=bcl).3(3=cbsn)–4.3.3.1–timp.perc(3)–hrp.cel–strings

Percussion Needs

Vibraphone, tubular bells, crotales (both octaves), bass drum, high and low tom-toms, tam-tam, large metal plate, suspended cymbal, Chinese cymbal, sizzle cymbal, crash cymbals, snare drum, tenor drum, four pitched almglocken, guiro, small and large triangles, and claves. Timpani requires G5 and D5 crotales.

Completed

2004

Duration

ca. 14 minutes

Award

Winner of the 2004 Joseph H. Bearns Prize in Music from Columbia University

Premiere Performance
Curtis Symphony Orchestra Benjamin Schwartz, conductor Field Concert Hall Philadelphia, PA April 2004

Listen

Cosmicomic (excerpt 1)
Curtis Symphony conducted by Benjamin Schwartz
Cosmicomic (excerpt 2)
Curtis Symphony conducted by Benjamin Schwartz

Program Note

Cosmicomic draws inspiration from the imaginative and philosophical writings of Italo Calvino, particularly Cosmicomics, his collection of short stories. In these stories, Calvino approaches the origins and evolution of the universe through fantasy, humor, memory, and speculation, transforming scientific ideas into intimate and often deeply human narratives.

Set in a single continuous movement, the piece traces an imagined journey through cosmic time, beginning with the volatile energy of the early universe and gradually moving toward the complexity and relative stability of the present. Contrasting textures, shifting patterns, and recurring motives suggest processes of expansion, collision, transformation, and emergence. Rather than attempting to depict the history of the universe literally, the music responds to its scale, unpredictability, and inexhaustible sense of possibility.

The music takes from Calvino not only a fascination with cosmic history, but also his ability to make the universe feel strange, intimate, and unexpectedly personal. Cosmicomic treats creation not as a remote scientific abstraction, but as a restless process filled with absurdity, instability, invention, and surprise.

—SC