Summit View

Summit View is not autobiographical, but it does seek to remember and reflect. Carlos has always been a self-acclaimed sentimental person, and sentiment shows up as the primary and defining theme of the piece. The title “Summit View” may be a little misleading; the summit is metaphorical, a point that is reached as a milestone in life. It is the point after the climb, and before the trek downwards into new, exciting, and unfamiliar territory. From this metaphorical summit, the ‘breathtaking view’ is what has happened in one’s life so far – not the events specifically, but rather the general ideas and emotions: the joy, sentiment, success, and sadness.

Much of the inspiration of this piece comes from Carlos’ long-time favorite composer, Jean Sibelius. Summit View does not aim to mimic Sibelius’ style, but the sense of wonder and emotional drive is what Carlos aimed to be shared between Summit View and the works of Sibelius. Still being rather young, Carlos continually tries to find a personal ‘voice’ or ‘style’ to his orchestral writing, soaking up knowledge he can from the great late-romantic composers and orchestrators. Unlike his inspiration from Sibelius, however, the stimulation he got from reflecting on his own pieces manifests itself in the very end of Summit View. After the climax of the piece, the flowing, thought-like nature of the falling action reveals the melodies from three of the other four pieces he wrote for MYSO: Fluctuating Tides (2014), Serenity (2015), and The Traveler (2017).

Performance Time: 9’00”

Scored for : 2 flutes, 2 oboes, 2 clarinets (B♭), 2 bassoons, 2 horns, 2 trumpets (C), timpani, and reduced strings (half size sections) [2.2.2.2/2.2.0.0/timp/strings]