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Collection of New Cotillions First Set, A

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Francis Johnson

Francis Johnson (arr. Kenneth Amis)


General Info

Year: 2022
Duration: c. 7:00
Difficulty: VI (see Ratings for explanation)
Publisher: Amis Musical Circle
Cost: Score and Parts (print) - $90.00   |   Score Only (print) - $7.00


Instrumentation

Full Score
Piccolo
Flute I-II
Oboe I-II
Bassoon I-II
B-flat Soprano Clarinet I-II-III
B-flat Bass Clarinet
E-flat Alto Saxophone I-II
B-flat Tenor Saxophone
E-flat Baritone Saxophone
B-flat Cornet I-II-III
Horn in F I-II-III-IV
Trombone I-II
Bass Trombone
Euphonium
Tuba
String Bass
Piano (optional)
Timpani
Percussion I–II-III, including:

  • Bass Drum
  • Crash Cymbals
  • Finger Cymbals
  • Glockenspiel
  • Hi-Hat
  • Marimba
  • Snare Drum
  • Triangle
  • Tubular Bells
  • Vibraphone


Errata

None discovered thus far.


Program Notes

The 1818 publication of Francis Johnson's A Collection of New Cotillions marks the first known publication of original music by a black composer in the United States. A prolific composer, instrumentalist, teacher and conductor, Johnson led a varied and successful career in an era in U.S. history that was not inviting to black professionals. His musical interests ranged from the contemporary works of Johann Strauss Jr. to traditional, popular dances.

The cotillion is a French country dance that was popular in Europe and America in the 18th century. It was originally danced by four couples in square formation and was an important influence in the development of the square dance in the United States. Francis Johnson composed two sets of six piano accompaniments for this dance. The original 1818 publication even included movement instructions for the eight dancers. The short and charming melodies that he composed are a fitting example of popular dance music of the time.

- Program Note by arranger


Performance Notes

This transcription may be performed as a piano solo, with the piano as a non-solistic instrument within the ensemble or without piano at all. If it is to be a piano solo, the other instruments should not play the passages marked “opt. tacet” (optional tacet). If the piano will not be treated soloistically, the conductor can have some or all of the “opt. tacet” passages played at their discretion. When there is no piano involved in the performance ,all instrumentalists should ignore the “opt. tacet” instruction and play everything.


Media


State Ratings

None discovered thus far.


Performances

To submit a performance please join The Wind Repertory Project

  • Massachusetts Institute of Technology (Cambridge, Mass.) Wind Ensemble (Kenneth Amis, conductor) - 24 April 2022
  • University of North Carolina School of the Arts (Winston-Salem) Wind Ensemble (Mark A. Norman, conductor) - 7 April 2022 *Premiere Performance*


Works for Winds by This Composer


Resources