Reflections on the Death of the Beloved (for symphonic band)

Matthew Peterson

Reflections on the Death of the Beloved

for symphonic band

Matthew Peterson

Reflections on the Death of the Beloved

for symphonic band (2008)

duration circa 15 minutes

written for (and commissioned by) the St. Olaf Band and dedicated to Timothy Mahr

note by the composer This piece began as something very different, and far less personal. In October 2007, conductor Timothy Mahr and I began discussing a commission for the St. Olaf Band, for possible performance in 2009. At that time I planned to write two movements for band inspired by Norse mythology. One would be a meditation on the tragic story of Balder, and I immediately began sketches on a deep lament for the brass choir. Over the past several years, six young people who were part of my community died before their time. They were lost to accidents, crime, disease, and war. Two passed immediately after I began work on this piece. As I reflected, the lament took on new meaning, and the music took new directions. When it came time to name my work, I tried to think of titles that would hide or soften the serious and personal thoughts that informed the composition. But nothing but Reflections on the Death of the Beloved seemed honest. It is painful when lives are lost to tragedy, especially when those lives are young. They have gone on to realms unknown and we cannot yet follow. But we remember, and we love, in whatever ways we can.

In Memoriam N.U., T.R., N.H., M.H., K.O., B.L.

instrumentation piccolo flutes 1+2 oboe 1+2 english horn Eb clarinet Bb clarinets 1 Bb clarinets 2 Bb bass clarinets Eb contra alto clarinet Bb contrabass clarinet bassoons 1+2 contrabassoon Eb alto saxophones 1+2 (solo doubling Bb sop. sax) Bb tenor saxophone Eb baritone saxophone Bb trumpets 1 (solo doubling D trumpet) Bb trumpets 2+3 F horns 1+2 (high) F horns 3+4 (low) trombones 1+2 trombones 3+4 (4 = bass trombone) Bb euphoniums tubas harp piano (una corda pedal required) celesta double bass (c-extension required) timpani รก 4 (+ large susp. cymbal without stand) Percussion 1-5: vibraphone, marimba, tubular bells, glockenspiel, crotales (two chromatic octaves), C nipple gong, 2 bongos, 4 tom-toms (hi to low) 1, 4 tom-toms (hi to low) 2, bass drum 1, bass drum 2, large tam-tam 1, large tam-tam 2, large suspended cymbal, medium suspended cymbal, metal wind chimes, four tuned crystal glasses

Percussion 1

Percussion 2

Percussion 3

Percussion 4

Percussion 5

instructions for performance 1) C Score: instruments which transpose at the octave are notated at their written pitch. Instruments which transpose up a double octave (i.e. crotales, glock.) are notated at written pitch but transposition is shown by clef. Instrument names containing key (e.g. Bb clar.) only indicate type of instrument, not transposition in the score. 2) Durational Notation: (e.g. c. 15") Durations indicated are approximate guidelines; the conductor should take into account room acoustics and other factors to determine the most musical and dramatic length. 3) Dynamics are not absolute but are relative to the context in which they occur. 4) Measures with Repeat Signs: two measures in the score (215, 276) are to be repeated ad lib. The conductor should follow the indicated minimum repetitions and consider the energy of the immediate musical moment to determine the amount of repetitions, which may vary according to each performance. 5) Boxed Figures and Dynamics should be played independently and unsynchronized for the duration of the bracket following. 6) Crystal Glasses in percussion should be tuned to the specified pitches by adding water. These are played by rubbing a wetted finger around the wetted rim of the glass. Clean, oil free glasses and fingers will maximize response and projection. 7) Singing: The band is required to sing; all specified musicians should sing their voice part. A balanced, rich choral sound with little to no vibrato is preferred. The notation indicates for the singer to make the lowest sound possible. 8) "Breaths" in the score are performed by the brass section breathing through their instruments. + indicates a breath in, ยบ a breath out. The effect should sound as a single breath, and not overpower the other musical events. Other notes and symbols: - harp harmonics, indicated by ยบ, sound an octave higher than written - glissandi last the full duration of the note attached to and are always slurred to the next note -

normal fermata,

crescendo from niente,

-

very long fermata,

six second fermata, etc. diminuendo to niente

horn stopped for duration of bracket rapidly, but not frantic

fast as possible.

- gracenotes before a note occur before the beat, unless modified by - l.v. and -

, meaning on beat.

mean "let vibrate" accel through figure

dampen percussion hold pedal until complete fade

- harp chords are never arpeggiated unless indicated - "hairpin" cresc. and dim. not leading to a dynamic marking indicate a subtle dynamic change - > normal accent,

hardest accent

- harp "pedal buzz" is achieved by pedaling between pitches and allowing the string to rattle - metal wind chimes should preferably be homemade from tiny metal objects (e.g. door keys), but the high register of a mark tree can be substituted if necessary - all brass require straight mutes (con sord.), trombones and trumpets require harmon mutes, trumpets also require practice/whisper mutes - vibraphone motor should be used where indicated and at the preferred relative speed; the score also indicates for the player to slowly move the slider from slowest to fastest (m. 3, 298)

c score duration c. 15'

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commissioned by the St. Olaf Band and conductor Timothy Mahr '&

Matthew Peterson (2008)

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Copyright Š 2008 Matthew Peterson (ASCAP), all rights reserved

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3

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Perc. 4

3

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Perc. 5

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3

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Perc. 4

3

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Perc. 5

"3

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Picc.

34 ! "

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1 Fl. 2

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unis.

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5

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! molto rall. ! 5

& +&

+5 +5

5

3

Perc. 5

3 "3

1

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1

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1

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1

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1

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1

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1

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1

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1

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1

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ff

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sfz sempre

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p

2

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! molto rall. !

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&& &&

7

ff

+5'

6 !

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ff

Perc. 4

#

55

ff

Perc. 3

1

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& +&

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5 5

#" ,

#

> = && ?

ff

5 5

= &

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5

mf

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ff

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5

> = &

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= &

$

ff

5

55

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6 ! q = 69 $

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To Sus. Cym.

55 ''

mp

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2

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47 ! Picc. "

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1 2

1 2

# # 1., solo

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p mp molto cantabile e espressivo

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Cl.

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1 2

Ten. Sax.

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Tpt. 1

"

2 3

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#

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#

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1 2

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Crot.

3

#

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Perc. 5

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#

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Cel.

Db.

Timp.

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Glock.

Tub. B.

) "

11

F Picc.

53 ! "

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accel.

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q = 60, misterioso #

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1 2

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Ob.

1 2

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#

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Cl. 1

"

#

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#

2 3

"

#

#

#

#

#

#

B. Cl.

,

#

#

#

#

#

#

C. A. Cl.

,

#

#

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, &

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1 2

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Cl.

Cb. Cl.

Bsn.

Alto Sax.

1 2

Ten. Sax.

Bari. Sax.

Tpt. 1

"

@5

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&

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&

+&

p

& 9

mp

accel.

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mp

mf

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&

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pp sub.

&

@&

&

p

q = 60, misterioso

Tpt.

2 3

"

#

#

#

#

#

#

Hn.

1 2

"

#

#

#

#

#

#

Hn.

3 4

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1 2

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,

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Hp.

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fp

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mp

fp

#

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accel.

q = 60, misterioso 55 ''

55 ''

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pp

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3

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Perc. 5

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#

#

#

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Glock.

poco

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Marimba, soft yarn

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@ 55 ''

ppp

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poco

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1 Fl. 2

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