Silver Angel

Silver Angel is a two-movement concerto for solo bassoon and string orchestra, commissioned by Ottawa’s Thirteen Strings Chamber Orchestra and premiered by bassoonist Nadina Mackie. The project was initiated by conductor Kevin Mallon and generously supported by an Ontario Arts Council commissioning grant.

The title refers to the Archangel Gabriel, a central figure in both the Old and New Testaments and an important presence in the Islamic tradition, where he is known as Jibra’il. In both Christianity and Islam, Gabriel serves as a divine messenger to prophets and chosen individuals. In this concerto the bassoon assumes the role of that messenger. The word “silver” also alludes to one of Nadina Mackie’s concert gowns, an element of her stage presence that has become nearly as recognizable as her virtuosity.

The first movement, Prayer Among the Ruins, was written in response to the tragic events that unfolded in the Middle East during 2014–2015, when extremist violence claimed countless lives and destroyed historic sites, including the ancient Assyrian city of Nimrud. While composing the work, the composer’s grandmother was entering the final stage of her life, and her memories of the Nazi occupation of Greece resurfaced during this time. These personal recollections intersect with contemporary events in the emotional landscape of the movement. The music unfolds as a requiem repeatedly interrupted by the voice of the Archangel, represented by the solo bassoon. Drawing on sonic colours from the Eastern Mediterranean, Asia Minor, and the Middle East, the soloist carries a message of peace among peoples and nations. Yet the orchestra repeatedly interrupts this message with turbulent and violent episodes, and the movement closes in the shadow of tragedy.

The second movement, New Dawn, offers a contrasting vision of hope. Completed on the day the composer learned of his grandmother’s passing, it incorporates the melody of a song she once sang to her grandchildren. In celebration of a long life defined by warmth, energy, and optimism, the melody is transformed into a Mannheim rocket and developed through a tapestry of stylistic echoes that include Baroque vitality, touches of jazz, and a hint of tango. These elements gradually gather momentum and culminate in a joyful dance. Playful bassoon interjections lighten the atmosphere, while brief moments of lament recall the depth of Byzantine ecclesiastical chant before the music returns to its radiant close.

Silver Angel is dedicated in loving memory to Maria Caravassilis (1920–2015).