The Edge Of Innocence Orchestral Suite
The idea behind this Orchestral Suite was to tell the story of "The Edge Of Innocence" album in another way, using the great range of possibilities of colours and moods that the symphonic orchestra offers.
Louis Viallet is the master arranger behind this amazing work with Francois Rousselot conducting over 60 musicians.
Suite Development by Louis:
The suite starts with the chorus's melody from the first song of the album, Wonderland, using mainly strings. This will constitute one of the main leitmotiv of the suite, and in Louis's mind represents our character, Lilith. She is picturing, dreaming, yearning for an ideal, yet unreachable world ; that explains the melancholic tone of this part.
The little transition at around 0:30 brings us back to the real world, in Eden. The key change and the joyful flute solo evoke the tranquillity of this place.
In Eden, with the following part, everything is soft, beautiful, peaceful. Strings are played with mutes, which give a softer sound, less sheeny, a bit blury, and very airy (your hear the bow) : it create makes room for the solo winds, playing the first song's verse's melody. Add the harp and a bit of celesta, and you got a really "edenish" music.
At 1:09, there is a mood change, like Lilith was thinking, preparing something.
Lilith's story really begins with her escape from Eden, depicted by the tempo and mood change at 1:23. Here you can hear the string riff from "Game of Life", with a huge crescendo, brass, choirs joining forces.This serves as an introduction for the new part of the suite, Lilith fleeing from Eden, taking risks, growing. Here you can hear the other main leitmotiv of this suite, the chorus's melody from the title song.
After the escape 2:20, Lilith fall in love with a mysterious stranger, and discover afterwards she was under a spell, duped by the devil himself.
From 4:10, you can hear Lilith's theme again, but much more darker. Low register instruments are playing the theme, winds and strings are creating an instable texture on top. One would tell she on the edge of innocence.
We continue with the theme from the track Memories 4:34. The contrast in mood/orchestration with the last part is striking, though, despite the recent events, Lilith never stopped dreaming about her Wonderland. She also remember her life in Eden, which was certainly duller, but also softer. She's still on the run, after the betrayal.
The first melody from the title track at 5:13, arranged with mysterious orchestration, reveal the "dark" part of Lilith character.
At 6:00, atmosphere change (The Fallen in the album). Lilith travels the world, and meet Isis, The Nile Goddess. A quote of the verse's melody from the title track. I see it like a very last melancholic thought towards her first life, in Eden. Until the full orchestra's transition to the next part, evoking Lilith's resolution to "Be Invincible".
The climax of the suite is built around the last variation of "the change" leitmotiv, played by celli and horns, on another harmonic progression, more noble, and bright.
Then, the last melody from the title track "The Edge Of Innocence", resolutely heroic : "She believes that even through the darkest of times, we should strife to believe that we are strong enough to pull through.
Finally, the last iteration of Lilith's leitmotiv : one note (F#) for strings, using a register decrescendo (from high violins to low doublebasses), and far away female choir singing the melody.
The Legend & the Myth closes the album on a very positive way in the lyrics; in the suite, it has a ambiguous touch, free of interpretation.
Listen to "The Edge Of Innocence" album:
Spotify: https://open.spotify.com/album/7vntgD...
Apple Music: https://music.apple.com/de/album/the-...
Amazon: https://www.amazon.de/Edge-Innocence-...
Itunes: https://music.apple.com/de/album/the-...
Website: http://www.angelwings-band.com/releas...
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