No. 6953|Wachner|Lifting t he Curse|Narrator & Chamber Orchest ra|Full Score
JULIAN WACHNER
Lifting the Curse for Narrator and Chamber Orchestra
Composer’s Engraved Facsimile Edition
Performings Forces
Narrator Piccolo/Flute Oboe Clarinet in Bb Bassoon 2 Horns in F Trumpet in C Trombone Percussion Timpani Cymbals Temple Blocks Glockenspiel Xylophone Strings
Duration: 20 minutes
The parts are available on rental from the publisher.
Catalog No. 6953 William Littlefield [2006]
Lifting the Curse for Narrator and Chamber Orchestra
q = 114 m.m.
Flute
3 Julian Wachner [2006]
f
Oboe
f
Clarinet
f
Bassoon
f
Horn in F
f
Horn in F
f
Trumpet in C
f
Trombone
f
Timpani
q = 114 m.m.
Violin I
mp
Violin II
mp
Viola
Violoncello
cresc poco a poco
cresc poco a poco
mp
cresc poco a poco
f
Text © Copyright by William Littlefield. Used by permission.
mf
f
Contrabass
pizz.
pizz.
mf Music © Copyright 2006 by E. C. Schirmer Music Company. A division of ECS Publishing, Boston, Massachusetts. All rights reserved. Made in U.S.A.
4 6 Vln. I Vln. II
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simile
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Johnny, older by a year, and Andy, short and dark, Sat looking at each other just outside of Fenway Park, And Johnny said, “It’s funny, kid, but when the game was new, The Sox were Champs a lotta times.” And Andy said “That true?” The winning paused for eighty six long years, but you knew that, Unless your head’s beneath the sand or in a paper sack...
Repeat as needed
time only 2nd Fl.
Repeat as needed
135
mp 1st time, 3rd time if needed
Cl.
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Variation I
T. Bl.
141
Temple Blocks
3
pizz Vln. I
Variation I
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T. Bl.
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‘Twas twenty six times New York won, and Boston never once, ‘World Series’ was to ‘Boston’ just as ‘genius’ is to ‘dunce.’
176
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And Johnny said “Along those years, you want to know the truth, The losing never had a thing to do with that guy, Ruth.” “The heck you say,” said Andy, who believed that selling Babe
22
Began a curse that meant the Red Sox played and played and played Without once rising far above the other baseball teams, Erasing all the nightmares and replacing them with dreams.
185
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let ring
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Variation II
Fl. 208
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q = 76 m.m.
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Variation II
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“Nah,” Johnny said, “the thing is that each disappointing season, In which they might have won and didn’t, there was some darn reason That wasn’t quite the one before and wasn’t quite the next, But people like it better if they think the team is hexed.” 6 6 6
6 6 6 6 6 Vln. I pp 6 6 6 6 6 6 6 6 Vln. II pp 6 6 6 6 6 6 6 6 Vla.
218
pp
pizz.
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25
Variation III - Same tempo
220
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26 227 Fl.
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27 229 Fl.
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29 233 Fl.
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“What is the deal?” asked Andy. Johnny sat up straight and said, “They signed the sluggers, not the pitchers, guys with feet of lead, Those guys who took a week to get from home on down to first, And lots of guys who cost too much, but that was not the worst.” “What was?” inquired Andy. Johnny shrugged and said, “Okay, Along about the same time, while the Red Sox were away,
Vln. I
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The club brought in a fellow name of Robinson to see If he could maybe help. He would go on, you know, to be The guy who broke the color line with Brooklyn, but the Sox In those days operated like their heads were full of rocks. They sent home Jackie Robinson, and in those dreary days They sent a scout to Birmingham – he passed on Willie Mays.
p
p
Vla.
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p
“So they were stupid,” Andy said, “and maybe they were blind.” And Johnny nodded. “Yeah, they figured Mays was not ‘their kind.’”.
Variation IV q = 76 m.m.
251 Bsn. mf Cym.
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Variation IV q = 76 m.m.
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They made the Series only once with Williams on the team, And Ted was hurt, and just a shadow of the brightest dream
Then Johnny said, “the club lacked luck, that was another thing That helped to pile up all those years with no World Series ring:
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34 He might have been in ’46. He only got five hits.” “And ’67?” Andy asked. “Ah, that team was the pits,”
3 266
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He played as few have played, and now he’s in the Hall of Fame... He didn’t win a Series, but how very close he came...
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Said Johnny, “Carl Yastrzemski, then Jim Lonborg, and spare bits... Though down the stretch no pitcher in the league could get Yaz out. He won the triple crown that season, and, without a doubt,
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Variation V - 7/8 Fugue
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308 Piu energico Fl.
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crescendo poco a poco
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crescendo poco a poco
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Picc.
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43 359 Picc.
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arco
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44 364 Picc.
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Picc. 368
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Xyl.
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47 And eight years later, Boston's team was lookin' pretty nice,
Vln. I Vln. II 375
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Vln. I Vln. II And then, before the Series, who gets hurt but Jimmy Rice?
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And after that who knows for sure where all the logic went?
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T. Bl.
on cue from conductor on line "They lost once on a fly to left..."
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Repeat if needed
They lost once on a fly to left by Bucky Lucking Dent...
Repeat if needed
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48
Variation VI
Hn.
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Variation VI
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cresc. poco a poco
pp
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Fl. 397
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401 Fl.
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ff
3
ff
They lost again when Buckner, ah, I’d rather not recall, He’s been the whipping boy too long for one mischievous ball.”
53 q = 76 m.m.
Fl.
421 Variation VII - Slow Waltz
Cl.
430
Fl.
Cl.
ppp
Cl.
pp
Bsn.
mp
Bsn.
pp
mf
mf
mf
They stopped then, for a moment, as if lis’ning for a cheer,
And Andy said to Johnny, “Well, I think at least it’s clear
pp
p
pp
mp
pp
p
Fl.
Cl.
mf
ppp
pp
3
mf
447 Slow March - gradually building
Ob.
mp
437
Fl.
Ob.
Ob.
Bsn.
mp
Ob.
Bsn.
That everything was changed forever in 2004.
pp
Timp. mp
54 Just what it’s like to win, ‘cause Bloody Schilling led the way,
When they won, we won; we don’t have to wonder anymore
Ob.
Cl.
455
Fl.
Bsn.
Hn.
C Tpt.
Timp.
Hn.
And Lowe and Pedro did the job, and no one now can say
Came back against the Yanks and beat the Card’nals in a breeze...”
The Red Sox weren’t the champs, because Ramirez and Ortiz
Fl. 461
Ob.
Cl.
Bsn.
Hn.
C Tpt.
Timp.
Hn.
Tbn.
55
Tempo of the Overture, piu mosso
Fl.
q = 124 m.m.
465
Cl.
Hn.
Hn.
C Tpt.
Tbn.
Timp.
“They did it,” Johnny nodded. “And the banner’s hanging, still, They did it with their pitching, and they whacked around the pill,
Ob.
Bsn.
That team was part-Hispanic, it was black, and it was white, And up in that front office, every move they made went right.
Tempo of the Overture, piu mosso
q = 124 m.m. arco
Vln. I
mp
arco
Vln. II
mp
arco
Vla.
Vc.
mp
pizz.
mf
Cb.
pizz.
mf
56
And ran the bases, too, like champs, which they had never done, Which may explain,or help to, how the Red Sox fin’ly won.
470
Vln. I
Vln. II
Vla.
Vc.
Cb.
Fl.
474
Ob.
Vc.
Cb.
f
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f
f
Vln. I
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3
3
f
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3
3
57
Fl.
478
ff
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ff
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ff
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Vln. I
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f
mf
ff
ff
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ff
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ff
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ff
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ff
ff
f
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ff
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pizz.
f
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58 481 Bsn. 3 detaché Vln. I detaché Vln. II detaché Vla.
Vc.
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3
3
3
3
3
3
3
arco
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3
3
3
3
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ff
485
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ff
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3
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59
490 Picc.
Ob.
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Bsn.
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Tbn.
Xyl.
Vln. I
Vla.
Vc.
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60
498 Picc.
Fl.
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Tbn.
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3
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mf
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Fl. 509
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61
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62
Fl. 518
Ob.
Cl.
Bsn.
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3
3
3
3
C Tpt.
Timp.
3
3
3
3
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3
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63
Fl. 527
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Bsn.
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3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
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Timp.
Hn.
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mf
3
3
3
3
3
3
3
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64
Fl.
Playful
536
Ob.
Cl.
Bsn.
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3
3
3
3
C Tpt.
Timp.
Hn.
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3
3
3
3
3
3
3
3
Playful Vln. I mf
Vln. II
mf
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mf
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mf
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65
Hn.
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545
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f
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554
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66
561
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mf
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67
Picc. 574
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ff
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68
580 Picc.
Ob.
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Tbn.
Timp.
Vln. I
Vln. II
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69
Picc. 586
Ob.
Cl.
Bsn.
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Timp.
Hn.
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f
f
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ff
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70
Picc. 593
Ob.
Hn.
Cl.
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mf
mf
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mf
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Vln. II
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mf
pizz.
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71
Fl.
602
Ob.
Cl.
Bsn.
Hn.
“It was a time,” mused Andy, “and I went to the parade, And watched as all the players waved, and everybody made A promise to themselves that they’d remember this great day, The Red Sox were the champs, no matter what the Yankees say.
p
Hn.
Tbn.
Timp.
mp
mp
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p
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mp
p
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72
Fl.
mf
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That it resided elsewhere, for in Boston it was dead.”
And if there ever was a curse, then now it could be said,
611
mf
Ob.
Cl.
Bsn. mf
Vln. I
Hn.
Hn.
C Tpt.
Tbn.
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mp
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mf
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mf
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73
Finale
Picc. 619
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Timp.
Hn.
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Cl.
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Vln. II
arco
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Cb.
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Finale
Vc.
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Ob.
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74
Picc. 624
Vln. I
Vln. II
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Timp.
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75
Picc. 630
Ob.
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mf
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76
Picc.
Ob.
Cl.
Bsn.
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“They were the champs,” said Johnny, and he smiled at Andy then, And said, “And now they’ve been the champs, hey, they might win again.”
636
Tbn.
Timp.
f
ff
ff
f
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77
Picc.
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642
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78 647 Picc.
Ob.
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79 652 Picc.
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80
Picc. 656
Ob.
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81
Picc. 661
Ob.
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82 666 Picc.
Ob.
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Tbn.
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Cb.
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Vln. II
Vln. I
83
672 Picc.
Bsn.
Ob.
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Vln. I
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secco
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84 676 Picc.
Ob.
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680 Picc. Ob. Cl.
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85
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685
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3
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86
689
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87
Picc. 692
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88
Picc. 697
Ob.
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3
3
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3
3
3
3
Julian Wachner Julian Wachner (b. 1969) has been hailed by his mentor Lukas Foss as “an enormously talented composer, organist and conductor whose vision and talent will invigorate the musical world.” His most recent collaborations include those with the San Diego Symphony, L’Orchestre Metropolitain (Montreal), New Haven Symphony, Sioux City Symphony, Boston Pops Orchestra, Theatre of Early Music, Charleston Symphony, Spoleto Festival USA, Tanglewood Music Center, Opera Boston, Boston Bach Ensemble, Handel and Haydn Society, Newport Jazz Festival, Dave Brubeck, Barry Manilow and the Boston Landmarks Orchestra. During the 2005-06 season, Wachner made his conducting debut with L’Orchestre Metropolitain (Montreal), Calgary Philharmonic, Grant Park Symphony (Chicago), and National Arts Centre Orchestra (Ottawa). He continues to conduct the Providence Singers, Bach-Academie de Montreal, McGill University and the New Haven Symphony. Recently appointed principal conductor of Opera McGill, Wachner made his professional debut as an opera conductor stepping in for Grant Llewellyn to conduct Dido and Aeneas at the Spoleto Festival USA in 2001. Recent operatic engagements include Gluck’s Orpheus et Euridice, Mozart’s La Finta Giardiniera (Boston Conservatory Opera), Britten’s Turn of the Screw, Argento’s Christopher Sly (Opera McGill), Gilbert and Sullivan’s The Mikado and The Gondoliers (Opera Boston), and Britten’s Albert Herring with the Red House Opera Group. In addition, he has served as assistant conductor for Mozart’s Cosi fan tutti, Handel’s Tamerlano, and Purcell’s Dido and Aeneus (Spoleto Festival USA). His first original opera, based upon Longfellow’s Evangéline, received its premiere in October of 2005. Wachner’s original music has been described as “jazzy, energetic, and ingenious” by Richard Dyer of the Boston Globe, “bold and atmospheric” by the New York Times, “highly enjoyable, touching, clever, and inspiring” by the Deseret News, and “upbeat, jazzy, glittering, and poignant” by the Providence Journal. Commissions and performances of his work include Landmarks Orchestra of Boston (The Midnight Ride of Paul Revere), Opera McGill (Evangéline Revisited), L’Orchestre Metropolitain, Montreal (Tryptich for Organ and Orchestra), Spoleto Festival USA (Cymbale), the New Haven Symphony (Planet X, Pluto, Apollo’s Fire), the Church of St. Andrew and St. Paul, Montreal (Psalm Cycle III), the San Diego Symphony (Regina Coeli), the Providence Singers (Canticles), the Quincy Symphony (Clarinet Concerto), the Cape Ann Symphony (Celebrations), Emmanuel Episcopal Church, Maryland (Behold, the Tabernacle of God), and the Charleston Symphony and Chorus (Regina Coeli). E. C. Schirmer Music Company publishes his complete catalogue of music. He is the founding music director of the Red House Opera Group, founding music director of the BachAcademie de Montreal, artistic director of the Providence Singers, music director of the Church of St. Andrew and St. Paul, Montréal, and associate professor of music at McGill University. His previous faculty positions include Boston University and the Massachusetts Institute of Technology. His most recent recording activity includes six commercial discs: Bach’s Christmas Oratorio with the Boston Bach Ensemble, Britten’s The Company of Heaven with the Back Bay Chorale and Orchestra, Coro Allegro’s Somewhere I Have Never Traveled featuring Wachner’s choral song-cycle Sometimes I Feel Alive, The Boston Sinfonietta’s Julian Wachner: Chamber Music, Lukas Foss’ Griffelkin with the Boston Modern Orchestra Project and Back Bay Chorale, and the Boston Bach Ensemble’s Julian Wachner: Sacred Music. As an organist and improvisateur, Wachner has appeared throughout North America including such prestigious venues as Methuen (MA) Memorial Hall, Trinity Church Copley Square (Boston), AGO Conventions in New York City, Dallas and South Carolina, the Organ Historical Society’s Boston Convention, St. Joseph’s Oratory in Montreal, and as part of the first-place winning team of the Festival Orgue et Couleur’s inaugural improvisation competition in Quebec. Over the years, with his various ensembles, Wachner has commissioned and premiered more than fifty new works by both young, emerging and established composers such as Marjorie Merryman, Lukas Foss, Charles Fussell, Theodore Antoniou, Augusta Read Thomas, Carlyle Sharpe, Trevor Weston, Marti Epstein and Andy Vores. Many of these works have gone on to receive major awards. Born in Hollywood, California, Wachner began his musical education at the age of four, studying improvisation, composition, organ and theory under Dr. Gerre Hancock while a boy chorister at the St. Thomas Choir School in New York City. In 1990, at the age of twenty, Boston University appointed him University Organist and Music Director of Boston University’s Marsh Chapel. In 1996, he earned the Doctor of Musical Arts degree from Boston University’s School for the Arts.