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Symphony No 2 (Alcalde)

From Wind Repertory Project
Antón Alcalde

Antón Alcalde


Subtitle: A Lenda de Paio Gómez Chariño

This work bears the designation Opus 3.


General Info

Year: 2010
Duration: c. 24:30
Difficulty: VI (see Ratings for explanation)
Publisher: Anton Alcalde
Cost: Score and Parts - Unknown

For availability information, see Discussion tab, above.


Movements

1. A Lenda (The Legend) - 6:55
2. A Paisaxe (The Landscape) - 5:55
3. A Battalla (The Battle) - 8:40


Instrumentation

Full Score
C Piccolo
Flute I-II
Oboe I-II
English Horn
Bassoon I-II
B-flat Soprano Clarinet I-II-III
B-flat Bass Clarinet
E-flat Alto Saxophone I-II
B-flat Tenor Saxophone I-II
E-flat Baritone Saxophone
B-flat Piccolo Trumpet
B-flat Trumpet I-II-III
Horn in F I-II-III-IV
Trombone I-II-III
Bass Trombone
Euphonium
Tuba I-II
String Bass
Piano
MIDI Keyboard
Harp
Timpani
Percussion I-VII, including:

  • African Shekere, large
  • Bamboo Sticks
  • Bass Drum, traditional and large
  • Bodhram
  • Brake Disc
  • Cannon
  • China Cymbals
  • Claves
  • Crotales, chromatic
  • Darbuka
  • Djembe
  • Earthenware Tub with water
  • Floor Tom
  • Glockenspiel
  • Gong, opera
  • Hang Drum
  • Hi-Hat
  • Iron Bunch
  • Iron Plate, large
  • Jingles
  • Marimba
  • Metal Can
  • Metal Pans
  • Ocean Drum
  • Rainstick (4)
  • Sandpaper Blocks
  • Scallop Shells
  • Sizzle Cymbal
  • Snare Drum
  • Suspended Cymbal
  • Tambourine
  • Tam-Tam, medium and large
  • Tenor Drum
  • Tom-Tom
  • Triangle, piccolo and medium
  • Tubular Bells
  • Udu, large
  • Vibraphone
  • War Drum, large
  • Waterphone
  • Wind Chimes, glass


Ethnic Ensemble:

  • Alto Recorders
  • Armenian Duduk
  • Didgeridoos (large and very large)
  • Dulcimer
  • Fujara
  • Harmonic Flute
  • Hurdy-Gurdy
  • Musical Glasses
  • Spanish Acoustic Guitars
  • Spanish Dolcaina
  • Tenor Recorder


Mixed Chorus (SS/AA/TT/BB) (optional)
Tenor Soloist


Errata

None discovered thus far.


Program Notes

Symphony No. 2 is the story of a local Galician leader and the battle with the Moors for Seville, Spain, in 1248. The work includes various ethnic and supplemental percussion instruments, and it further uses narrator and vocalist to depict the story—first in ancient Galician, then in the spirit of Moorish prayer, and finally in English.

The composer describes the piece as follows:

The Legend of Paio Gómez Chariño (Symphony no. 2) was commissioned by The Band of the Rianxo School of Music, for the purpose of being released as part of its seventh anniversary, on the 1st of May 2010, directed by Rafael Callazo Moare. It is dedicated to my companions of this band and its conductor, Rafael Collazo Moares. When I received the task of putting music to a character of the Middle Ages, who participated in the conquest of Seville, was crowned Adelantado Mayor of the Kingdom of Galicia and ancient lord of my native town, there came an interesting idea, since the first contact with the work would be the fusion between the traditional symphonic band and a section of ethnic instruments to facilitate musical description. With this previous idea, The Legend of Paio Goinez Charino, formed into three independent movements:

I .The Legend. Like all legends, the beginning is surrounded by mystery, giving the option to several possible interpretations according to its narrator (m. 1). The birth of Paio Gómez Chariño is supposed to be about the year 1225. The music that reflects the beginning of the legend is built on a style of Gregorian chant. The main theme of the work is presented at the moment of birth, accompanied by the dulcimer as if it were a lullaby (m. 39). All of the childhood of Paio Gómez Chariño is described by the harmonic-melodic development of the main theme. Charino, the first Lord of Rianxo, describes his journey to the village of his lordship (m. 89). His arrival in Rianxo is announced by trumpets as the castle gates open (m. 92). Gómez Chariño is absorbed by the scenery that unfolds before his eyes, he gazes at the Rianxo River dominated by the eternal sea (m. 96). In a moment of flash he sees a great battle, a battle in which he is in command of a ship (m. 114). As fast as it arrives, the image disappears again showing the eternal sea dominating the Rianxo River in a beautiful sunset.

II .The Landscape. This movement describes a typical landscape of the time. We see all the neighbors around a campfire. All are sitting on the ground, among pigs, chickens and other domestic animals listening to the songs of a troubadour (m. 154). The ringing of church bells sounds in the air (m. 155). The minstrel recites a ballad about the Lord of the village, accompanied by a popular melody on the flute and the dulcimer (m. 157). Leaving behind this image we walk the streets of the town. The melody presented by the flute before is now taken up in the form of dance, and accompanies us in the overall image of the town (m. 161). Our walk ends at Port Rianxo (m. 249). A magic awakes from the sleeping river that surrounds us (m. 253).

Fernando III entrusts Admiral Bonifaz with the task of using the army in the Conquest of Seville. Paio Gómez Chariño is given the same task (m. 258). Like in his vision, Chariño finds himself in command of a ship heading to the Rio Guadaiquivir, participating in the Conquest of Seville (m. 271).

III.The Battle. The whole symphony leads us to this final movement. We first note the progress of the ship, ascending the Rio Guadalquivir (m. 345). A blanket of fog covers everything, creating a more tense atmosphere for the crew. We observe traces of a different culture, Arab (m. 354). With all of the accumulated tension, Chariño encourages his brave warriors to not fear their destiny (m 360). The battle begins by attacking the “Triana Boats Bridge” (m. 384). A spectacular battle between the Christians and the Moro Empire trembles the earth (m. 389). Finally, we see a picture of desolation, describing the harshness of the battle. Seville is conquered by the Christians (m. 511). The coronation of Admiral Paio Gómez Chariño as Adelantado Mayor of the Kingdom of Galicia is celebrated with cannon shots in a final explosion of color and timbre (m. 528).

- Program Note by composer


Commercial Discography

None discovered thus far.


State Ratings

None discovered thus far.


Performances

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Works for Winds by this Composer


References