The song cycle, Two Orchestral Songs, is a setting of two texts by Canadian poet Gwendolyn MacEwen (1941–1987) from her 1969 collection, The Shadow-Maker. The texts are symbolic in nature and discuss the question of personal sacrifice. In “The Sacrifice,” the narrator observes leaves falling in autumn and compares this “necessary death” against the “unnecessary” sacrifices that we make when we lay down our most beautiful aspects, our “golden selves,” at the “altars of the world” in order to please some external arbiter (the “shapeless ghost”). However, much like a man raking leaves in autumn, these dropped aspects get gathered up by “the Gardener” (a metaphor for Time), and we are left questioning whether our deliberate sacrifices enabled us to achieve the divine end to which we were intended. “How Weeps the Hangman,” employs similar imagery of leaves representing the “season’s sacrifice” of “pain, love, glory, blood.” The titular metaphor of the Hangman, however, draws on tarot imagery, specifically the twelfth Major Arcana card known as The Hanged Man, which depicts a man hanging upside-down by one foot from a cross or living tree; the man’s facial expression is usually neutral, not an expression of suffering. The card is interpreted in various ways as meaning sacrifice, letting go, surrender, and acceptance. In MacEwen’s poem, the narrator places herself (and us) on the way to the scaffold to offer up our seasonal sacrifices, but the lingering question focuses not on the object (us, The Hanged Man), but on the agent of change, the hooded Hangman who “does his duty to you and me.” She wonders what pain our own whimpering in the sacrificial process causes to him, whether he and the “embarrassed tree” weep at our losses. The musical language of this composition employs extended tonal key areas based on synthetic scales, in particular the four transpositionally related enneatonic scales. The harmonies are largely tertian in structure, with added tones and superimposed sonorities creating an effect of bitonality. The imagery of dropping leaves is recreated musically by the prominent use of descending seconds and descending thirds in the melodic and accompanying parts.

The song cycle, Two Orchestral Songs, is a setting of two texts by Canadian poet Gwendolyn MacEwen (1941–1987) from her 1969 collection, The Shadow-Maker. The texts are symbolic in nature and discuss the question of personal sacrifice. In “The Sacrifice,” the narrator observes leaves falling in autumn and compares this “necessary death” against the “unnecessary” sacrifices that we make when we lay down our most beautiful aspects, our “golden selves,” at the “altars of the world” in order to please some external arbiter (the “shapeless ghost”). However, much like a man raking leaves in autumn, these dropped aspects get gathered up by “the Gardener” (a metaphor for Time), and we are left questioning whether our deliberate sacrifices enabled us to achieve the divine end to which we were intended. “How Weeps the Hangman,” employs similar imagery of leaves representing the “season’s sacrifice” of “pain, love, glory, blood.” The titular metaphor of the Hangman, however, draws on tarot imagery, specifically the twelfth Major Arcana card known as The Hanged Man, which depicts a man hanging upside-down by one foot from a cross or living tree; the man’s facial expression is usually neutral, not an expression of suffering. The card is interpreted in various ways as meaning sacrifice, letting go, surrender, and acceptance. In MacEwen’s poem, the narrator places herself (and us) on the way to the scaffold to offer up our seasonal sacrifices, but the lingering question focuses not on the object (us, The Hanged Man), but on the agent of change, the hooded Hangman who “does his duty to you and me.” She wonders what pain our own whimpering in the sacrificial process causes to him, whether he and the “embarrassed tree” weep at our losses. The musical language of this composition employs extended tonal key areas based on synthetic scales, in particular the four transpositionally related enneatonic scales. The harmonies are largely tertian in structure, with added tones and superimposed sonorities creating an effect of bitonality. The imagery of dropping leaves is recreated musically by the prominent use of descending seconds and descending thirds in the melodic and accompanying parts.