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And then the Universe exploded (flex)

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Olivia Kieffer

Olivia Kieffer (arr. David Wacyk)


Subtitle: For adaptable winds, piano and percussion

The title of this work is correctly written mostly in lower case with ellipsis: ...and then the Universe exploded.


General Info

Year: 2017 / 2021
Duration: c. 5:05
Difficulty: IV (see Ratings for explanation)
Publisher: Murphy Music Press
Cost: Score and Parts (print) - $80.00


Instrumentation (Flexible)

Full Score
Part 1

  • Flute
  • Oboe
  • E-flat Soprano Clarinet
  • B-flat Soprano Clarinet
  • E-flat Soprano Saxophone
  • E-flat Alto Saxophone

Part 2

  • Flute
  • Oboe
  • E-flat Soprano Clarinet
  • B-flat Soprano Clarinet
  • E-flat Soprano Saxophone
  • E-flat Alto Saxophone

Part 3

  • B-flat Soprano Clarinet
  • E-flat Soprano Saxophone
  • E-flat Alto Saxophone
  • B-flat Tenor Saxophone
  • B-flat Trumpet

Part 4

  • Bassoon
  • B-flat Bass Clarinet
  • B-flat Tenor Saxophone
  • Trombone
  • Euphonium
  • Horn in F

Part 5

  • Bassoon
  • B-flat Bass Clarinet
  • E-flat Baritone Saxophone
  • Trombone
  • Euphonium
  • Tuba
  • String Bass

Piano (optional but preferred)
Timpani
Percussion I-II, including:

  • Bass Drum
  • Bongos
  • Kick Drum
  • Snare Drum
  • Suspended Cymbal
  • Tam-tam
  • Triangle (small and large)

Players chanting


Errata

None discovered thus far.


Program Notes

...and then the Universe exploded is a wild and joyful piece for concert band. It was written for and dedicated to the Reinhardt Symphonic Winds, and was premiered by the ensemble on April 11, 2017. The beginning source material comes from an unrealized concept album I started back when I was writing electronic beat music, called Everything Everything All of the Time. This feeling of everything seeming to happen at once, and all the time, has not disappeared in my life; I am no stranger to fairly continuous life changes. In the first section of the piece, the musicians build layers of joy upon each other. The second section features a (very polite but bombastic) Battle of the Bands, which abruptly segues into the entire ensemble shouting a Countdown to the End of the World. In its essence, this piece is about the End of Everything. We often think of the end of things as a loss, or bittersweet at best. But sometimes, the very end is the most beautiful.

- Program Note by composer


Performance Notes

Parts 1 and 2 are both designed to include similar instrumentation to help create a homogeneous sound during "back and forth" sections.

The inclusion of piano is strongly suggested, but if this is not possible, the work can be performed without piano – and in this case *and in general), the substitution of more mallet instruments is encouraged.

This arrangement may be most successful when played with more than one person per part, but it can be performed as a quintet + percussion and piano. In this case, some decisions can be made for omitting certain pitches/beats, at the performer's discretion.

If the suggested instrumentation will not work for your situation, feel free to be creative. Fully adaptable parts have been included.

If you have a large percussion section, the original full percussion parts (2 percussion + timpani and 3 mallets) will work with this arrangement.


Commercial Discography

None discovered thus far.


Media


State Ratings

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Works for Winds by this Composer

Adaptable Music


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