Four Preludes on Playthings of the Wind
Four Preludes on Playthings of the Wind follows Carl Sandburg's poem, utilizing four starkly contrasting preludes to match the text's journey from dismissed arrogance to apocalyptic ruin: Movement I: Sets an improvisatory and rhythmically loose tone, matching the poem's initial dismissal of history. Movement II: Fast and highly rhythmic, often requiring a driving, punchy articulation that mimics the chant, "We are the greatest city, the greatest nation..." . Movement III: Usually highly dissonant and virtuosic, shifting the mood to reflect the destructive "winds" of change and time. Movement IV: A bleak, atmospheric finale capturing the desolation of a fallen empire. McAllister challenges the performer by demanding expressive, uninhibited control o f the instrument. It relies heavily on glissandi, resonance trills, and pitch bending to achieve a raw, almost human vocalization.
