What appeals to me most about Dylan Thomas’s poetry is the sound of his words. Phrases from Poem in October like “a springful of larks in a rolling cloud” and “the blue altered sky streamed again a wonder of summer” are in themselves musical. Then there is Thormas’s incredibly rich and concentrated imagery. Within a single sentence he will have three or four images in addition to the main one, so that a composer has a tremendous amount of material to work with.
Further, I love the cadential irregularity in the Thomas poems I have set, for it allowed me to write rhythmically irregular music without violating the pulse of the words. And I admire Thomas’s organization. For instance, near the end ofa poem he tends to recapituale not only words but earlier moments, so that building a musical structure on his texts seem an extremely natural undertaking.
Poem in October is cast as a rondo, where interludes for various combinations of the solo instruments separate the seven verses. The music itself is unabashedly lyrical. I sought to convey a pastoral feeling that would match the directness and simplicity of the text, to deal in understatement and succinctness rather than in complexity and theatrical effect.
– John Corigliano