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Ode to RS

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Chang-Su Koh

Chang Su Koh


General Info

Year: 2012
Duration: c. 11:00
Difficulty: V (see Ratings for explanation)
Publisher: Bravo Music/Brain Music
Cost: Score and Parts - $145.00  |   Score Only - $17.00


Instrumentation

Full Score
C Piccolo (doubles Flute 3)
Flute I-II
Oboe
Bassoon
Eb Clarinet
Bb Clarinet I-II-III
Eb Alto Clarinet
Bb Bass Clarinet
Eb Contra-alto Clarinet
Contrabass Clarinet
Alto Saxophone I-II
Tenor Saxophone
Baritone Saxophone
Trumpet (in Bb) I-II-III-IV
Horn in F I-II-III-IV
Trombone I-II-III
Bass trombone
Euphonium (Bass Clef & Treble Clef)
Tuba
String Bass
Timpani
Percussion, including:

  • Bass Drum
  • Crash Cymbals
  • Glockenspiel
  • Snare Drum
  • Suspended Cymbal
  • Tam-Tam
  • Triangle
  • Vibraphone
  • Woodblock (3)
  • Xylophone


Errata

None discovered thus far.


Program Notes

Ode to R.S., dedicated to Robert Schumann’s 200th birth year, was composed in 2010. Set as a theme and variations, the theme is a chorale in C-major originally composed by 16th-century French composer Louis Bourgeois. Most well-known by the title Freu dich sehr, o meine Seele, Johann Sebastian Bach used this chorale in the cantatas Es erhub sich ein Streit, BWV 19 and Wachet! betet! betet! wachet!., BWV 70. Known as one of the major composers responsible for the revival of Bach’s music in the nineteenth century, Schumann harmonized the chorale in his op. 69, No.4. The variations are organized in the following manner:

Variation 1 (in F-major): Brahms-like variation
Variation 2 (in E-major): Counterpoint variation
Variation 3 (in F-major): Scherzando-like variation
Variation 4 (in a-minor — C-major): Variation in a slow tempo, it gradually moves away from the theme.
Variation 5 (in C-major): Variation in a fast tempo which contrasts the previous variation. The theme is fragmented throughout this variation.
Theme (in F-major): The theme returns as a Figurierter Choral (Figured Choral) by Schumann, in “almost the same" as Schumann’s original. Koh calls this “almost the same” because he injects Schumann’s popular melody Träumerai into the choral. This second theme is also notable because he uses pitches of the first phrase of Träumerai, C-F-E-F-A-C-F-F, as the key centers of each variation.
Fugue (in F-major): A short lively fugue based on a motive taken from Träumerai. In the final three measures of the piece, the pitch set E-flat-C-B-A (in German S(Es)-C-H-A, which came from SCHumAnn) is used in the low brass an woodwinds to pay a final homage to Schumann. This practice of inserting a name or motto into a piece was often used Robert Schumann himself.

-Program note by Seth Wollam for the Lone Star Wind Orchestra


Commercial Discography


Audio Links


State Ratings

None discovered thus far.


Performances

To submit a performance please join The Wind Repertory Project


Works for Winds by this Composer


References

  • Lo, Albert. "Ode to R.S." In Teaching Music through Performance in Band. Volume 10, Compiled and edited by Richard Miles, 788-793. Chicago: GIA Publications, 2015.