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Programme Note<br />
When I first moved to the United States I noticed a<br />
frequent public announcement in the newspaper and on<br />
advertising materials in my mailbox. It showed a photo of a<br />
missing child or teenager, along with a second ‘ageprogressed’<br />
photo to show what they would look like now.<br />
If you recognised the second photo you were encouraged to<br />
call the number of the National Center for Missing &<br />
Exploited Children, 1-8<strong>00</strong>-<strong>The</strong>-<strong>Lost</strong>. I thought of the pain<br />
that parents and family of such a child must feel, never<br />
knowing whether he or she was still alive somewhere out<br />
there.<br />
It was not until mid-2021 when this idea started to<br />
transform itself into music. However, writing <strong>The</strong> <strong>Lost</strong><br />
during the coronavirus pandemic and then the invasion of<br />
Ukraine, with images of grief on television screens and in<br />
newspapers, and finally the unexpected illness and death of<br />
a dearly loved family member, the music evolved into a<br />
wider reflection on human loss.<br />
<strong>The</strong> <strong>Lost</strong> is built upon 7 very long bass pedal points: C,<br />
G, Ab, Eb, F, Db, C. <strong>The</strong> chords above are played very quietly<br />
by four overlapping groups of woodwind, mallet percussion<br />
and brass, creating a kind of ‘sonic mist’. <strong>The</strong> solo cello<br />
shares the foreground and middle-ground in passages<br />
mainly of a reflective or nostalgic nature, until an intense<br />
climax leads to an expressive soliloquy. <strong>The</strong> conclusion of<br />
the piece suggests some measure of acceptance and calm.<br />
Christopher Marshall<br />
Orlando, May 2022