Subtitle: After Praetorius
Manhattan Beach Music also offers free download of the parts
1. Bransles gay & double de Poictu - 4:05
2. La Robine - Spagnoletta - Ballet des Amazones - Ballet - Volte - 7:00
3. Gavotte - La Bourrée 2:45
4. Gaillarde - Resprinses - Gaillarde - Volte - 8:40
Tenor Recorder (optional, but highly desired.)
Bass Flute (optional)
Eb Soprano Clarinet I-II
Bb Soprano Clarinet I-II-III
Eb Alto Clarinet
Bb Bass Clarinet
Eb Contra-Alto Clarinet
Bb Contrabass Clarinet
Bb Soprano Saxophone
Eb Alto Saxophone I-II
Bb Tenor Saxophone
Trumpet (in Bb) I-II-III (Trumpet 1-3 double flugelhorn, trumpet 3 also doubles bass trumpet)
Flugelhorn (in Bb) I-II-III (may substitute cornets)
Bass Trumpet (in Bb)
Horns in F I-II-III-IV
Percussion I-II-III-IV-V-VI, including:
- American Indian Drum (large)
- Bass Drum
- Bell Tree
- Bongo Drums
- Coconut Shells
- Conga Drum
- Cymbal (2 suspended, 5 pairs crash)
- Field Drum
- Finger Cymbals (2 pairs)
- Frame Drum
- Marimba (3, if possible)
- Snare Drum (piccolo)
- Snare Drum (regular)
- Tam-Tam (2, small and large)
- Tambourin Provencal
- Tambourine (2)
- Temple Blocks
- Tenor Drum
- Tom-Tom (large)
- Triangle (1 small, 2 medium, 1 large)
- Tubular Bells
First Movement, Bassoon I-II, measure 43
- E-flat should be E-natural to comply with the A Major chord.
Terpsichore (1981) is based upon dances from the Court of Henry IV of France by Michael Praetorius in 1612. Margolis details the piece:
Terpsichore is the Greek Muse of dancing. She is one of the nine Muses who are the daughters of Mnemosyne (the goddess of memory) and Zeus.
The beginning of this band work is a quiet invocation to the spirit of ancient dance, and is followed by a street scene depicting wild and savage goings-on. The energy level and tunes are explosive, the moods constantly and unpredictably changing. Speed, flexibility, and energy dominate. Towards the middle of the movement, a brass quintet plays the original Renaissance music upon which the movement is based. The invocation reappears, and the music ends in a florid swirl of notes.
The second movement begins with a quintet of gently chirping flutes, followed by a slow Spanish dance for solo harp and then band. Next comes a brazen ballet, Amazones; and finally a loud chime introduces a scintillating and vibrant jumping dance, or “volte,” coming to a breathless and abrupt close.
The third movement begins with a bright xylophone solo, followed by a series of “bourrées.” Sounds are bright and transparent. The end of the movement reproduces, as nearly as is possible in the modern symphonic band, the sound of an actual Renaissance wind band.
The final movement – the longest, most complex, and most exciting one – begins with a sprightly “gaillarde” for solo organ. This is followed by a series of warmly peaceful variations called “reprinses,” next comes a unique series of tunes that feature the individual instrumental choirs of the band. Finally, an exhilarating and strongly rhythmic “volte” first shows off the euphonium soloist, and builds energy to a resplendent close.
The work is filled with symbolism and emotion, but two particular musical elements evoke aspects of the metaphysical in unexpected ways: the pervasive use of percussive metals and the choice of a lullaby at the end. The bright, glittering shimmer of the metal percussion recalls the imagery found in Ecclesiastes 12:7, “Then shall the dust return to the earth as it was: and the spirit shall return unto God who gave it.” Although the physical body no longer endures, the soul, represented by the tuba, remains and sings a sweet, restful melody above the accompanying notes of the piano. By harmonizing with the other brass instruments, the soul initially lingers with the family, then, as indicated when the piano rises from the lowest D to the highest, it ascends to heaven. Dust…spirit…soul. As Shakespeare’s Prospero said, “We are such stuff as dreams are made on,” and what better way to end this piece than with a lullaby, rocking us to sleep and continuing the dream.
- Program Note from University of North Texas Symphonic Band concert program, 28 April 2016
- Florida: VI --- (The Florida Bandmasters Association denotes this as "significant literature.")
- South Carolina: VI
To submit a performance please join The Wind Repertory Project
- University of Nebraska (Lincoln) Wind Ensemble (Carolyn Barber, conductor) – 2 October 2019
- University of Illinois (Champaign) Wind Symphony (Stephen G. Peterson, conductor) – 10 April 2019
- Lone Star Wind Orchestra (Dallas, Tx.) (Eugene Migliaro Corporon, conductor) – 29 April 2018
- University of North Texas (Denton) Symphonic Band (Dennis W. Fisher, conductor) – 28 April 2016
- J.P. Taravella High School (Nikk Pilato, conductor) - April 2003
- Florida State University Symphonic Band (Patrick Dunnigan, conductor) - February 2005
- University of Georgia Wind Ensemble (John Lynch, conductor) - 13 October 2010
- Butler University Symphonic Band and Wind Ensemble (Robert Grechesky, conductor) - 17 September 2006
- Knightwind Ensemble [Milwaukee, Wisc.] (Erik Janners, conductor) - 14 April 2013
Works for Winds by this Composer
- Alien Visitors
- Allegro Brillante (Margolis)
- Battle Pavane, The (as arranger) (1981)
- Belle qui tiens ma vie (as arranger)
- Color (1999)
- Fanfare Ode and Festival
- Fantasia Nova
- Prelude and March (Margolis)
- Renaissance Fair, The (as arranger) (1993)
- Royal Coronation Dances
- Soldiers' Procession and Sword Dance (1999)
- Stars Asleep, The Break of Day, The
- Streets and Inroads: Fantasy for Winds and Percussion
- Terpsichore (1930)
- Two-Minute Symphony, The
- Blocker, L., Cramer, R., Corporon, E., Lautzenheiser, T., Lisk, E., & Miles, R. (1996). Teaching music through performance in band (Volume One). Chicago, IL: Gia Publications.
- Margolis, R.; Praetorius, M. (1984). Terpsichore [score]. Manhattan Beach Music: Brooklyn, N.Y.
- Miles, Richard B., and Larry Blocher. (2010). Teaching Music through Performance in Band. Volume 1. Chicago: GIA Publications. pp. 960-967.
- Rudgers, Gregory B. Terpsichore. MBM Times, Issue 6 (2012), 74.