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All in Good Time

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Barbara Kolb

Barbara Kolb (transcribed by composer)


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General Info

Year: 1993 / 1994 / 2007
Duration: c. 10:00
Difficulty: (see Ratings for explanation)
Original Medium: Orchestra
Publisher: Boosey & Hawkes
Cost: Score and Parts – Unknown.


Instrumentation

(Needed - please join the WRP if you can help.)


Errata

None discovered thus far.


Program Notes

All in Good Time was commissioned by the Philharmonic-Symphony Orchestra of New York for its 150th Anniversary. It was first performed February 24, 1994, at Avery Fisher Hall in New York City by the commissioning ensemble conducted by Leonard Slatkin. It was transcribed for wind ensemble by the composer in 2007.

Peter M. Wolrich writes in the score: "All in Good Time presents a vision of rhythmic development, and thereby a personal expression of the movement of time itself."

The work begins with a gestural riff in the woodwinds which introduces a repeated, syncopated sixteenth-note figure. The harmonies, always fortissimo, thicken as the pulsation continues. Melodic strands begin to emerge as the pulse grows through progressive transformation. The melodic material, which is generated by the vertical harmonies and accentuated by rhythmic interjections in the brass, forms and reforms, grows and shifts, expanding exponentially as the piece rises to an intense crescendo. Suddenly, just as the climax is reached, the momentum ceases entirely. Now the material is quiet, themeless, and devoid of rhythm. A soprano saxophone, solo at first, combines with the vibraphone and bass clarinet. The music begins to move again as flutes and clarinets enter with a descending line while the soprano saxophone and the bass clarinet ascend.

A steady rhythmic motif quietly appears in the piano, double basses, and bass drum while the wood block enters in a different meter, creating a polyrhythm. The entry of the brass begins a new climax, brought about by further transformations of the impulses, and it becomes apparent that this section is a variation of the first section. At the climax there is a return to the sixteenth-note syncopated figure from the beginning of the piece. The pulsations of time return upon themselves, transformed.

In the concluding segment of the work, the rhythms of the new beginning gradually rarefy and become frozen into a single note, D, which is the central pitch of the piece. Riffs, recalling the works opening riff, spark in all directions. The work ends fortissimo on a single note D, having reduced itself into the essence of its pitch and thematic material. Its architecture has become clear:· moving kaleidoscopic time ... floating, non-directional time ... recurring time ... time frozen in eternity ... all in good time.

- Program Note from Ithaca College Wind Ensemble Concert Program, 25 March 2009


Media

None discovered thus far.


State Ratings

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Performances

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Works for Winds by this Composer


Resources