Dinosaur enthusiast? David Serkin Ludwig’s new work brings fantastical prehistoric creatures to life.
What would it sound like if long-lost, prehistoric creatures could speak? What sentiments, stories, and secrets would they share? In his new work A Book of Forgotten Creatures, David Serkin Ludwig (Composition ’01) imagines just that, crafting five distinct musical portraits that bring extinct animals vividly to life.
Each movement spotlights a distinct creature—Basilosaurus, Paraceratherium, Smilodon, Teratornis, and Eohippus—each characterized by a different instrument. Written for the Grammy Award-winning Imani Winds, the piece unfolds as a “quintuple concerto,” granting each ensemble member a starring role—and prehistoric character.
“I’m hoping to capture the fantastical qualities of these prehistoric animals in the sounds and characters of the music,” says Ludwig. “I’m interested in telling stories through music that provoke thought in the listener.”
This Sunday, January 25, audiences can experience this firsthand as the Curtis Symphony Orchestra presents the world premiere of Ludwig’s new work. The program also includes Bartók’s Concerto for Orchestra, led by renowned Finnish conductor Osmo Vänskä, alongside works by Missy Mazzoli and Henry Dorn.
The piece also incorporates a literary dimension: Star Trek actor John de Lancie will narrate each movement, guiding listeners through each creature’s story.
“On the surface, it’s like Carnival of the Animals, but there’s subtext,” says Ludwig. “Underneath, it’s about the necessity of change and the recognition that there is always a choice.”
Below, learn more about Ludwig’s prehistoric world premiere and the inspiration behind this unique new work.
How would you describe the concept—and overarching message—behind this new work?
The music primarily portrays these animals’ fantastical qualities—but the more meta message is about evolving and adapting. Each of the animals is extinct, but they also evolved to survive in a different form. It’s a metaphor for our time as humans and where we are in this current moment.
Are there any musical elements you consider especially distinctive? What should first-time listeners tune into?
Each movement leans heavily into the concept of a particular character. For example, the first movement—the basilosaurus, an ancient whale—is portrayed by the bassoon, which plays long, flowing musical lines. The second movement is paraceratherium, a hugely-scaled rhinoceros, which is portrayed by the horn. It’s powerful and majestic, opening with a gigantic “stump.” And in the final movement, the horse is portrayed by the orchestra “galloping.” At the end—if you listen carefully—you can hear each animal go extinct, one by one.
Some of your past works, namely Pangea, have similar themes, centering fantastical creatures and historical storytelling. In what ways have past pieces influenced this one—both thematically, and from a composition perspective?
Storytelling is the element that unites everything I write. Some composers write straight, raw music, which is great—but I’m interested in telling a story about something I’ve observed and find compelling. You see that here especially with the narrator, who guides us through each creature’s story.
In what ways does A Book of Forgotten Creatures embody your personal compositional voice?
I’m very interested in the space where abstract meets realism. I love music that’s simply based on sounds, even jarring ones—but I also want to draw beauty from music that’s more familiar to listeners. There’s a lot of this type of tension in this piece: Moments that are very “blurry,” and then very clear.
Catch the world premiere of Ludwig’s A Book of Forgotten Creatures, alongside works by Bartók, Mazzoli, and Dorn, on Sunday, January 25 at 3:00 p.m. in Marian Anderson Hall, Kimmel Center. Tickets begin at $28.
