Corona makes the final part of the Solar-Trilogy, a huge symphonic triptych about the life and behavior of the Sun. The first ‘panel’ Gong depicts the birth, life and final collapse of our nearest star, the second Zenith>/b> describes in its ultra-slow tempo the patient rise of the Sun toward midday ferocity and its subsequent setting. Corona, then, is a symphonic ‘portrait’ of the phenomenally hot whispy brim encircling and radiating from the Sun, a sizzling halo of electrons and photons visible only during a total eclipse.
Formally Corona follows the process of such totality in progress: the gradual eclipsing by the Moon – total darkness with the fierce, sparkling outer corona – the gradual ‘rebirth’ of the light toward the full glory and warmth of the Sun.
Besides the obvious astronomical narrative of the Solar-Trilogy there’s a metaphysical angle too, underlying each of the three compositions: Gong, in spite of its apparent energy, may be the most pessimistic of them all, epitomizing the death and ultimate annihilation of the prime source of Life itself. Zenith is a homage to human aspiration and spiritual endurance and Corona ends with Hope and Glory after a journey from depression through total despair.
Super-structurally, the zenith of Zenith makes the zenith of the entire trilogy, i.e. when the E-flat of the unison horns in Zenith is heard, we are exactly halfway through the collected work.