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Resonance

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Christopher Marshall

Christopher Marshall


General Info

Year: 2006
Duration: c. 11:00
Difficulty: VI (see Ratings for explanation)
Publisher: Maecenas Music
Cost: Score & Parts: $180.00   |  Score Only: $45.00


Instrumentation

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

  • Anvil
  • Bass Drum
  • Crash Cymbal
  • Glockenspiel
  • Jawbone
  • Marimba
  • Ride Cymbal
  • Snare Drum
  • Suspended Cymbal
  • Tambourine
  • Tam-Tam
  • Tenor Drum
  • Triangle (2)
  • Tubular Bells
  • Vibraphone
  • Water Gong
  • Wind Chimes (glass and wood)
  • Wood Block (high)
  • Xylophone


Errata

None discovered thus far.


Program Notes

I was honoured when Tim and Hilary Reynish commissioned me to write a second piece in memory of William. This time I wanted to write music of a more contemplative nature as a contrast to L'homme armé: Variations. Resonance is divided into two main sections. The first uses several thematic fragments arranged in their own 'orbits'. At each appearance they inter-react with each other and evolve. The second section moves back in time to reveal the whole theme in its original form, a simple hymn-like tune. After three variations, material from both sections combines in a brief coda. This is abstract music; there is no programme. However, prior to and during the composition process, images of nineteenth century New Zealand kept coming to mind.

My great-great grandfather was one of hundreds of English missionaries in the North Island during a period of rapid Maori conversion to Christianity. This was the time of the Maori prophets, their writings revealing a vivid amalgam of Victorian Christianity and Polynesian warrior culture – attempts to make sense of the turmoil and upheaval of colonisation.

Mission schools were frequently built in clearings in the dense forest. Contemporary accounts speak of the volume of the native bird song being so intense that lessons often had to be abandoned. These days the exquisite sound of a solitary tui or korimako in the forest is like a pale echo of that time. I picture my ancestor in a small mission school in the forest and imagine his thoughts drifting from the earnest faces of his students to memories of his own youth back in England.

- Program Note by Christopher Marshall


Media


State Ratings

None discovered thus far.


Performances

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Works for Winds by This Composer


Resources