Corigliano TRATHLON (for Wind Ensemble) by ScoresOnDemand

John Corigliano

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TRIATHLON

for Saxophonist and Wind Ensemble

Score

From the G. Schirmer Rental Library

Date of Printing________________

G.Schirmer, Inc.

New York, NY

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John Corigliano

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TRIATHLON for Saxophonist and Wind Ensemble

1. Leaps (soprano saxophone)

2. Lines (alto saxophone)

3. Licks (baritone saxophone)

The original version of Triathlon for Saxophone and Orchestra was commissioned by the San Francisco Symphony with the generous support of Michèle and Larry Corash

This version for Saxophone and Wind Ensemble was commissioned by University of Texas at Austin, the University of Missouri at Kansas City, and the Dallas Winds

First performed on February 6, 2024 at the Morton H. Meyerson Symphony Center, Dallas by Tim McCallister (saxophone) and the Dallas Winds, conducted by Jerry Junkin

Duration circa 30 minutes

G. Schirmer, Inc. New York, NY

Instrumentation:

Piccolo

2 Flutes

2 Oboes

English Horn

Clarinet in E-flat

4 Clarinets in B-flat

2 Bass Clarinets

Contrabass Clarinet

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2 Bassoons

Contrabassoon

2 Trumpets in C (optional parts in B-flat)

4 Horns in F

2 Trombones

Bass Trombone

Baritone Horn

Tuba

Solo Saxophone (Soprano, Alto and Baritone)

Timpani

Percussion (3 players):

1: Xylophone, Large Ratchet, Small Ratchet, Slapstick, Glockenspiel, Almglocken, Suspended Cymbal, Temple Blocks, Snare Drum

2: 5 Temple Blocks, Small Ratchet, Police Whistle, 2 Flexatones, Suspended Cymbal, Crotales, Slapstick, Crash Cymbal, Snare Drum, Tenor Drum, Vibraphone, Wood Block, Anvil

3: Bass Drum, 2 Flexatones, Snare Drum, 5 Tom-Toms, Low Cow Bell, Chimes, Tambourine, Small Ratchet, Triangle, Tenor Drum

Piano

Harp

Contrabass (2 players)

Composer’s Note:

Although the title of this concerto seems obvious now, I thought of it long after the work was completed. My original goal was to write a three-movement work each featuring one member of the saxophone family.

The virtuosic possibilities of the soprano sax – rivalling that of the clarinet – inspired a first movement entitled “Leaps” that, as the title implies, is buoyant, acrobatic, and optimistic. An orchestral introduction of jumping woodwinds and a long-lined melody lead to the entrance of the soloist who, after a few virtuosic turns, sings the melody introduced by the orchestra. This melody utilizes the entire lyrical range of the soprano saxophone and leads to a slower section that extends and develops the melody. But the joyous opening returns and the movement ends as it began – with a leap.

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The second movement features the alto saxophone, and is entitled “Lines”. Lines, in music, describe the horizontal motion of notes, or, as we know it, melody. And, indeed, this entire movement is totally melodic and serene. The only dynamic climax in it is one of intensity, but it too is composed of purely melodic material.

I have always loved the sassy, gravelly sound of the baritone sax, so it had to lead the last movement of my concerto. “Licks” is a jazz term, and means small improvisational moments in a piece. While this is not a jazz movement, the idea of small ornamental turns appealed to me, and provided me with the inspiration for the solo writing.

The movement starts with an unaccompanied cadenza. In it, the soloist explores many of the remarkable unusual sounds that the saxophone family can produce. At the beginning we hear soft key clicks, which are done without breathing into the instrument. This soon develops into a technique called “slap tonguing” in which the performer literally slaps his tongue against the reed. It is a totally delightful and rude sound, and both these devices alternate in the body of the cadenza.

After the saxophone plays a giant harmonic glissando, the orchestra enters with a soaring dramatic theme totally at odds with the soloist’s strange sounds. The soloist then enters, playing material with slap-tongue technique, which the orchestra constantly interrupts. Finally, the soloist joins the orchestra in some highly ornamented licks, and the movement barrels forward. The soloist, playing in perpetual motion and in extreme registers, leads us to a central dialogue between him and the woodwinds. The dramatic material returns, building to a climax at which the soloist retrieves his soprano saxophone, and leads the orchestra to its spirited conclusion.

I could not have written this work without the support of a couple whose help in commissioning composers is legendary. This concerto is dedicated to “Michèle and Larry Corash, with love and admiration, celebrating their 50th wedding anniversary”.

– John Corigliano

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Contrabass Clarinet in B

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sempre, con fuoco e marc. poss.

Bassoon 2

Contrabassoon ** 1

1 Horn in F 2 3 Horn in F 4

1 Trombone 2

Bass Trombone

Baritone Horn Tuba

Solo Soprano Saxophone

Timpani

Percussion 1

Percussion 2

Percussion 3

Piano

Harp

Contrabass (2 players)

f sempre, con fuoco e marc. poss.

f sempre, con fuoco e marc. poss. f sempre, con fuoco e marc. poss.

sempre, con fuoco e marc. poss.

f sempre, con fuoco e marc. poss.

* Improvise constantly changing figures between and including the given two pitches. Play steady double-tongued (if possible) sixteenth notes avoiding scales. Play for the duration indicated by the solid line. ** Parts for Trumpet in Bb are also available Corrected and edited: 10/24

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Bs. Tbn.

Bar. Hn.

Tba.

Sop. Sax.

Timp.

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Bar. Hn.

Tba.

sfz sfz sfz

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sfz sfz sfz sfz sfz sfz sfz sfz sfz sfz sfz sfz

sfz sfz sfz sfz sfz sfz

sfz sfz sfz sfz sfz sfz mf

sfz sfz sfz sfz sfz sfz

sfz sfz sfz sfz sfz sfz sfz sfz sfz sfz sfz

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Bs. Tbn.

Bar. Hn.

Tba.

Sop. Sax.

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senza sord.

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sfz sfz sfz sfz sfz

sfz p f sfz sfz sfz sfz

sfz p f sfz sfz sfz sfz sfz sfz sfz sfz sfz sfz p

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sfz p f sfz sfz sfz sfz f f sfz sfz sfz sfz sfz sfz sfz sfz sfz sfz

sfz sfz sfz sfz sfz

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œ ^ R≈‰

œ œ ^ bR≈‰Œ

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III. LICKS (Baritone Sax)

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sffz (ff) sffz

sffz (ff) sffz ff sempre

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sfz (f) sfz

sfz

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sfz (f) sfz (f)

sfz (

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sfz sfz sfz sfz sfz sfz sfz sfz sfz sfz

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