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Sinfonia V: Symphonia Sacra et Profana

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Timothy Broege

Timothy Broege

General Info

Year: 1973 / 1990
Duration: c. 7:00
Difficulty: V (see Ratings for explanation)
Publisher: Manhattan Beach Music
Cost: Score and Parts - $150.00   |   Score Only - $25.00


1. Prelude
2. Rag
3. Alla Turca
4. Chorale (after Samuel Scheidt)
5. Rag
6. Ragtime Alla Turca
7. Chant and Pavanne


Full Score
Flute I (piccolo)
Flute II
Oboe I-II
Bassoon I-II
E-flat Soprano Clarinet
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 Trumpet I-II-III-IV
Horn in F I-II-III-IV
Trombone I-II-III-IV
Piano/Electric Piano
Percussion I-II-III-IV, including:

  • Bass Drum
  • Bongos (2)
  • Claves
  • Cowbell
  • Crash Cymbal
  • Finger Cymbals
  • Glockenspiel
  • Maracas
  • Ratchet
  • Snare Drum
  • Suspended Cymbal
  • Tambourine
  • Tam-Tam
  • Temple Blocks (4)
  • Timpani
  • Triangle
  • Vibraphone
  • Woodblock
  • Xylophone

Players singing


None discovered thus far.

Program Notes

Sinfonia V: Symphonia Sacra et Profana was composed in the summer of 1973 at Brielle, New Jersey, on commission from the University City High School Wind Ensemble of University City, Missouri; it was premiered by that group in 1974. Subsequently the work was taken up by such distinguished conductors as Eugene Corporon, Thomas Dvorak, Craig Kirchoff and H Robert Reynolds, receiving numerous performances in the United States, Canada, and England. Since its publication by Manhattan Beach Music in September of 1989 it has also traveled to Japan and Australia, and has become standard repertoire for high school as well as college bands and wind ensembles.

Sinfonia V is both a musical diary and a musical collage. I incorporated several musics that were much on my mind the time the work was written, including ragtime, which I had been studying intently for several years, as well as the plainchant hymn Divinum Mysterium, which the choir of First Presbyterian Church, Belmar, New Jersey (where I was, and still am, organist and director of music) had used as a processional at Christmas time. If one imagines dialing across the FM radio band in a large city such as New York, the resulting collage (or to be more accurate, montage, as in film editing) might include a bit of early music (the Pavanne, and the chorales by Samuel Scheidt), some ragtime or jazz, some contemporary music, some voices, some instruments, et cetera.

At the same time, Sinfonia V contrasts secular musics -- such as the Pavanneand the ragtime fragments -- with sacred musics such as the Scheidt chorales and the plainchant hymn. There is no attempt to reconcile these two musical traditions, and the work ends in ambiguity.

Some listeners have found humor in it. I am not so sure. Here are some of the musics I was working with in the summer of 1973, assembled in what I hope is a convincing musical structure -- no padding, no transitions, no note-spinning. The piece aims to be concise and kaleidoscopic, profound as well as entertaining, sacred and profane.

- Program Note by Timothy Broege


State Ratings

Texas: V


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Works for Winds by This Composer


  • Broege,T. (1990). Sinfonia V : Symphonia Sacra et Profana : For Symphonic Wind Ensemble/Symphonic Band [score]. Manhattan Beach Music: Brooklyn, N.Y.