Winds of Change (Barata)

From Wind Repertory Project
Antonio G. Barata

Antonio G Barata


General Info

Year: 2020
Duration: c. 8:30
Difficulty: (see Ratings for explanation)
Publisher: Antonio Barata
Cost: Score and Parts - contact composer


Instrumentation

Full Score
C Piccolo
Flute I-II
Oboe
English Horn
Bassoon
Contrabassoon
E-flat Soprano Clarinet
B-flat Soprano Clarinet I-II-III
B-flat Bass Clarinet
B-flat Contrabass Clarinet
B-flat Soprano Saxophone
E-flat Alto Saxophone
B-flat Tenor Saxophone
E-flat Baritone Saxophone
B-flat Trumpet I-II-III
Horn in F I-II
Trombone I-II-III
Bass Trombone
Euphonium
Tuba
Celesta
Timpani
Percussion, including:

  • Bass Drum
  • Crash Cymbals
  • Glockenspiel
  • Snare Drum
  • Suspended Cymbal
  • Tam-Tam
  • Tom-Tom
  • Tubular Bells
  • Vibraphone


Errata

None discovered thus far.


Program Notes

During this season of my life that includes my approaching retirement from many years of teaching and service to Cal Poly State University, I am indeed feeling the winds of change. This composition's title is triple entendre, pointing at once to those life changes, the work's composition for largely wind instruments, and its formal structure.

This piece is based on a compositional technique that takes inspiration from the pitch space sensibilities of Edgard Varèse, the colorism of Erik Satie, and the timbral structure of spectralist composers. Harmonically and melodically, it is based on an acoustic root system rather than on tradition chord roots. In that sense it is a functional harmony. Though it is dangerous to draw an analogy to traditional common practice harmony, one could say the "keys" that the composition works through, each sectioned off by thin double bars, follow the motive found in the horns' striking opening moments – B-flat, F.E. B-natural. The piece returns to F and then B-flat near the end, rounding the form.

It is equally problematic to apply visual analogies to a work that is emphatically not programmatic, but it might prove useful for both conductor and performer to have a sense of the compositional process in a visually appealing form. Imagine how a shifting wind might blow, toss, and turn anything that is not tied down. Fallen leaves flip and swirl, but remain materially the same. Other items topple and shift, changing what we see of them, but not their substance. So the opening motif shifts and twists, all while retaining its essence. Nearly every melodic and harmonic structure herein is derived from that motif. The work juxtaposes extreme textural simplicity with clusters of more timbral and rhythmic effect, continually shifting at the micro level.

I first dedicate this composition to Christopher J. Woodruff. I am honored to have such a wonderful colleague and friend, as well as a sensitive, articulate conductor welcoming my work.

I also dedicate it to the Cal Poly Wind Ensemble, and more broadly to the Band Program. From my first hearing many years ago and unto this day I have been impressed with the exceedingly high caliber of the music they have programmed and deftly performed.

- Program Note by composer


Media

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State Ratings

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Performances

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Works for Winds by This Composer


Resources

None discovered thus far.