Old Churches
From Wind Repertory Project
Contents |
General Info
Year: 2002
Duration: c. 5:20
Difficulty: II (see Ratings for explanation)
Publisher: BandQuest through Hal Leonard Music
Cost: Score & Parts - $50.00 | Score Only - $5.00
Instrumentation
Full Score
Flute I-II-III
Oboe
Bassoon
Bb Soprano Clarinet I-II-III
Bb Bass Clarinet
Contrabassoon
Alto Saxophone I-II
Tenor Saxophone
Baritone Saxophone
Trumpet I-II-III
Horn in F
Trombone I-II-III
Euphonium
Tuba
Percussion, including:
- Bells I-II
- Bowls I-II
Errata
- Flute I, m. 24, add tenuto marking to beat one
- Flute II, m.49, add "mp" to entrances / m. 53, add "cut off one by one."
- Flute III, m.49, add "mp" to entrances / m. 53, add "cut off one by one."
- Oboe, m. 24, add tenuto marking to beat one.
- Bassoon, m. 11, add diminuendo marking / m.18, add tenuto markings to eighth notes on beat four / m.19, add tenuto marking to beat one / m. 27, add "mf" to the entrance.
- Bb Soprano Clarinet I, m.29, remove tie over the bar line into m.30
- Bb Bass Clarinet, m.19, add tenuto marking to beat one / m.27, add "mf" to the entrance.
- Tenor Saxophone, m.11, add diminuendo marking / m.19, add tenuto marking to beat one / m.27, add "mf" to the entrance / m.40, add "f" to the entrance / m.52, add "as long as possible on fade"
- Baritone Saxophone, m.19, add tenuto markings to "and" of beat four through beat two of m.20 / m.20, extend slur from beat three to beat one of m.22 / m.27, add slur from beat four to beat one of m.29 / m.52, add "as long as possible on fade"
- Trumpet III, m.24, add tenuto marking through beat two m.25
- Trombones I-II-III, m.11, add diminuendo marking
- Baritone B.C., m.40, change first beat to B natural (M2 higher)
- Baritone T.C., m.40, change first beat to C sharp
- Tuba, m.52, add "p" to half note entrance
- Bells, m.49, add "mp" to entrances / m.53, add "mp" to entrance.
- Bowls, m.53, add "mp" to entrance.
Program Notes
According to North American composer Michael Colgrass, Old Churches is one of the most challenging pieces he can remember writing. His goal was to create music that was interesting, expressive and challenging, yet playable by students in the early stages of performing on their instruments and who are also unfamiliar with modern music techniques.
His solution was to write a work based on Gregorian vocal chant with unison melodies. Playing in unison helps studeint musicians feel more confident, and allowed Colgrass to copiously double the melodic lines. The tempo is slow; the phrases are all in quarter and eighth notes, and the harmonies are simple. Some easy graphic notation and chance techniques are employed, such as pitches played without rhythm, and a murmuring effect that simulates the idea of voices echoing in monastic churches. Colgrass hopes that Old Churches is a piece that conveys emotion at the same time it makes young bands sound good.
Old Churches uses Gregorian chant to create a slightly mysterious monastery scene filled with the prayers and chanting of monks in an old church. Gregorian chant is ancient church music and that has been in existence for over 1500 years. The chant unfolds through call and response patterns. One monk intones a musical idea, then the rest of the monks respond by singing back. This musical conversation continues throughout the piece, with the exception of a few brief interruptions. Perhaps they are the quiet comments church visitors make to one another
Program Note by Michael Colgrass
Commercial Discography
Audio CD: North Texas Wind Symphony, (Eugene Corporon, conductor)
State Ratings
Texas: II
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