Dedicated to Dr. Brittany Lasch, Dr. Andrew Lankford & the James Madison University Trombone Choir.
Composed in 2024. Commissioned by Dr. Brittany Lasch and Dr. Andrew Lankford and premiered in Harrisonburg, Virginia on January, 27th 2024.
Program Notes
I believe the human connection that is fostered between musicians is one of the most meaningful and significant that one can attain. The relationships that music students build with their mentors and the connection that performers realize with their audience is unlike any other made in any field. It is because of these musical connections that the following piece of music, entitled Daughter of Silver Water was brought to fruition, thanks to the commissioning efforts of Dr. Brittany Lasch and Dr. Andrew Lankford. I was extremely lucky to have met Dr. Lasch during my undergraduate degree at Boston University where she grew to become a dear friend as well as the first person to ever commission an original composition from me. I was also fortunate enough to meet Dr. Lankford during my masters degree at James Madison University where he afforded me the opportunity to conduct the JMU trombone choir and has been a constant support ever since. When I found out that Dr. Lasch would be the featured artist for the annual Tromblowin’ Festival that Dr. Lankford hosts at JMU, I was immediately reminded of the musical connection that we all shared and I jumped at the chance to write a new piece for trombone choir, trombone soloist and optional percussion.
Upon sitting down to write this piece and reflecting on the musical link between myself, Dr. Lasch and Dr. Lankford, my mind immediately went to one of the greatest connectors that the natural world has to offer; rivers. These powerful forces of nature have been defining the American landscape yet connecting landlocked citizens throughout history. My thoughts began to dwell upon the famous Shenandoah River, which resides in the same valley as the hometown of James Madison University in Harrisonburg, Virginia. Having spent time on the famous river, I knew that I wanted the Shenandoah to be basis of the conceptual nature of the composition. After settling upon the main inspiration behind the composition, I then began to research the origins and legends of the Shenandoah. One story regarding the naming of the river dates back to the American Revolutionary War, where it is said that General George Washington dubbed the valley after a Oneida Nation Chief named Skenandoa, whom provided aide to Revolutionary soldiers against the British. Coincidentally enough, the land that Chief Skenandoa presided over are the very same lands that I grew up on in central New York. Modern scholars believe another translation of Shenandoah is “Silver Water” and they have deduced the name may also derive from three ancient Native American names: Senedo, Cenantua, and Sherando. Senedo refers to an ancient primitive people who had long since been conquered by the Iroquois, Cenantua refers to the mountain range now known as Massanutten and Sherando was a fierce Iroquois chief who fought off the advances of the Virginia coastal tribes. Of all the origins of the great river and valley, there is one Native American legend that has stood the test of time, and it goes like this:
“After the Great Spirit made the world, the morning stars came together on the shores of a quiet silver lake bordered with blue mountains. It was the most beautiful place they could see. Hovering above the quiet waters and lighting the mountain tops with their robes of fire, the stars sang their songs of joy and pledged to gather there every thousand years. Once, when the stars were singing, there came a mighty crashing sound. The mountain wall tore asunder. Through the deep opening, the waters of the lake began to pour out and rush to the sea. As time passed, the stars looked all over the earth for another place to meet. They finally agreed upon a lovely valley through which a winding river ran. Soon, the stars realized that this valley had been the bed of their beautiful lake and the blue mountains around it were the same ones they had lit with their robes of light in ages past. The stars were so joyous they placed the brightest jewels from their crowns in the river where they still lie and sparkle. And ever since that day, the river and its valley have been called Shenandoah, Daughter of the Stars.” This inspiring legend is above all the most well-known and a combination of the differing translations brings forth the title of the composition, Daughter of Silver Water.
The form of the composition is that of an Arch Form (ABCBA) and utilizes percussion instruments, such as the log drum, rattle, rainstick and wind chimes. The first section features the trombone soloist performing a melody atop a bevy of muted sounds from the trombone choir and percussion. The melodic figures of the first four trombone parts are intended to imitate the calls of the Northern Cardinal, the state bird of Virginia, while depicting the sustained flow, beautiful scenes and peaceful sounds surrounding the Shenandoah River. These sounds all eventually dissipate as we are magically transported into the story of the Native American legend that gave the Shenandoah its name. The B section begins with the trombone soloist singing alone. More trombones are added to the texture, depicting the stars hovering above the silver lake as they sing in harmony. The C section shifts to a faster rhythmic pace, depicting the mountain wall crumbling down and the water of the silver lake pouring out over the landscape. The last section of BA depicts the morning stars rediscovering their beloved silver lake as a new valley with a flowing river at the bottom.
As someone who grew up near the reservation of the Onondaga Nation, I think it is extremely important to recognize the indigenous people as the original caretakers of the land we live on. It is my hope thatthis composition will honor this legend with the deepest reverence and respect. I would like to extend a special thank you to Professor James Akins, Professor of Tuba and Euphonium at The Ohio State University for allowing me to utilize his extensive library of Native American history and music. Last but not least, I would like to thank Dr. Brittany Lasch and Dr. Andrew Lankford for their undying support and opportunity to compose this piece. I hope you enjoy delving into Daughter of Silver Water.
Shawn W. Davern 