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Angels in the Architecture

From Wind Repertory Project
Frank Ticheli

Frank Ticheli


General Info

Year: 2009
Duration: 14:45
Difficulty: V (see Ratings for explanation)
Publisher: Manhattan Beach Music
Cost: Score and Parts - $295.00   |   Score Only - $125.00

For additional availability information, see Discussion tab, above.


Instrumentation

Full Score
Piccolo
Flute I-II
Oboe I-II (II doubling English Horn)
Bassoon I-II
Bb Soprano Clarinet I-II-III-IV
Bb Bass Clarinet
Bb Contrabass Clarinet
Eb Alto Saxophone I-II
Bb Tenor Saxophone
Eb Baritone Saxophone
Bb Trumpet I-II-III-IV
Horn in F I-II-III-IV
Trombone I-II-III
Euphonium
Tuba
String Bass
Celesta (If unavailable, play on piano an octave higher than notated)
Organ (Optional)
Timpani (also plays Bell Tree)
Percussion I-II-III-IV, including:

  • Bass Drum
  • Crash Cymbals
  • Crystal Wine Glasses (4 tuned to C, E-flat, F, and G)
  • Cymbals (2 Chinese, 1 medium, 1 medium-large, and 1 large suspended)
  • Glockenspiel
  • Marimba
  • Pedal Bass Drum
  • Snare Drum
  • Tam-Tam
  • Temple Blocks (4)
  • Tom Toms (3)
  • Triangle (medium and large)
  • Tubular Bells (Chimes) (Optional 2 players on either side of the stage)
  • Vibraphone (motor off)
  • Vibraslap
  • Whirlies (3 tuned to B-flat, C, and E-flat)
  • Xylophone


Soprano (or Boy Soprano)

Errata

Ticheli's errata page


In Score:

  • Trombone 2 & 3, m. 46: There should be an "a2" marking on beat 1
  • String Bass, m. 99: Add an accent to the E natural on beat 1


In Parts:

  • Oboe I, m. 61-62: oboe I part contains pitches which are not present in the score. The notes, which are covered by alto sax I, should not be played by the oboist. In other words, the score is correct.
  • Trombone III, m. 35: Both notes should have an accent + staccato
  • Trombone III, m. 99, beat 1: B-flat should have an accent + staccato
  • Percussion III, m. 132: Missing rehearsal mark "132"
  • Percussion III, m. 206-207: Missing 2 bars of Xylophone, identical to Marimba's part but without accents. Check score if confused
  • Percussion III, m. 319-323: Add the lower octave F to the roll starting on beat 3 of m. 319 all the way through m. 323


In Score and Parts:

  • Clarinet III, m. 257: note on the and of 3 should be E-flat, not E-natural
  • Clarinet IV, m. 257: Note on the and of 3 should be E-flat, not E-natural
  • Contrabass Clarinet, m. 234: Note should be low A, not low G
  • Contrabass Clarinet, m. 236, beat 4: C should have an accent on it along with the staccato
  • Alto Saxophone I, m. 257: Note on the & of 3 should be B-flat, not B-natural
  • Tenor Saxophone, m. 77: The printed C#'s on the & of beat 1 and beat 4 should be C naturals
  • Baritone Saxophone, m. 56, beat 4 Slur should be removed to match the articulation of horns 3-4 and euphonium
  • Percussion II, Vibraphone, m. 42: Note on the and of 3 should be low C, not E-flat
  • Percussion III, Xylophone, m. 219, beat 2-3: Printed D-naturals on the & of beat 2 should be D-flats


Program Notes

Angels in the Architecture was commissioned by Kingsway International and received its premiere performance at the Sydney Opera House on July 6, 2008, by a massed band of young musicians from Australia and the United States, conducted by Mathew George. The work unfolds as a dramatic conflict between the two extremes of human existence -- one divine, the other evil. The work's title is inspired by the Sydney Opera House itself, with its halo-shaped acoustical ornaments hanging directly above the performance stage.

Angels in the Architecture begins with a single voice singing a 19th-century Shaker song:

I am an angel of Light
I have soared from above
I am cloth'd with Mother's love.
I have come, I have come.
To protect my chosen band
And lead them to the promised land.

This "angel" -- represented by the singer -- frames the work, surrounding it with a protective wall of light and establishing the divine. Other representations of light, played by instruments rather than sung, include a traditional Hebrew song of peace ("Hevenu Shalom Aleichem") and the well-known 16th-century Genevan Psalter, Old Hundredth. These three borrowed songs, despite their varied religious origins, are meant to transcend any one religion, representing the more universal human ideals of peace, hope, and love. An original chorale, appearing twice in the work, represents my own personal expression of these aspirations.

Just as Charles Ives did more than a century ago, Angels in the Architecture poses the unanswered question of existence. It ends as it began: the angel reappears sings the same comforting words. But deep below, a final shadow reappears -- distantly, ominously.

- Program Note by composer


Awards


Commercial Discography

None discovered thus far.


State Ratings

  • Georgia: VI
  • Iowa: V
  • Texas: V


Performances

To submit a performance please join The Wind Repertory Project

  • University of Illinois (Champaign) Wind Orchestra (Beth Peterson, conductor) – 4 December 2019
  • Central Connecticut State University (New Britain) Wind Ensemble (Robert Schwartz, conductor; Savannah Moore, soprano) – 4 December 2019
  • Tarleton State University (Stephenville, Tx.) Wind Ensemble (David Robinson, conductor; Heather Hawk, soprano) – 3 October 2019
  • Greater Hartford (Conn.) Youth Wind Ensemble (John Hart, conductor; Sara Marze, soprano) – 12 May 2019
  • Gustavus Adolphus College (St. Peter, Minn.) Wind Symphony (James Patrick Miller, conductor) - 11 May 2019
  • Antelope Valley College (Palmdale, Calif.) Symphonic Band (Gary Heaton-Smith, conductor) – 5 May 2019
  • Lenoir-Rhyne University (Hickory, N.C.) Wind Symphony (Daniel Kiser, conductor) – 26 April 2019
  • Indiana State University (Terre Haute) Wind Symphony (Nikk Pilato, conductor; Krista Woodhull, soprano) – 23 April 2019
  • Liberty Youth Wind Symphony (West Chester, Penn.) (Andrew Yozviak, conductor; Leanne Frist, soprano) – 14 April 2019
  • Durham (N.C.) Community Concert Band (Tom Shaffer, conductor) – 14 April 2019
  • University of Southern California (Los Angeles) Thornton Wind Ensemble (H. Robert Reynolds, conductor) - 14 April 2019 (Disney Concert Hall, Los Angeles)
  • Stephen F. Austin State University (Nacogdoches, Tx.) Wind Ensemble (David Campo, conductor) – 9 April 2019
  • University of Miami (Fla.) Frost Wind Ensemble (Frank Ticheli, conductor) – 24 March 2019
  • University of Southern California (Los Angeles) Thornton Wind Ensemble (H. Robert Reynolds, conductor) – 29 March 2019
  • University of Minnesota (Minneapolis) Symphonic Winds (Emily Threinen, conductor) – 6 March 2019
  • Wheaton College (Wheaton, Ill.) Symphonic Band (Timothy Yontz, conductor) – 2 March 2019
  • Carnegie Mellon University Wind Ensemble (Pittsburgh, Penn.) (George Vosburgh, conductor) – 9 February 2019
  • University of Oregon (Eugene) Wind Symphony (Nicholas D. Soenyun, conductor) – 7 February 2019
  • Ohio University (Athens) Wind Symphony (Andrew Trachsel, conductor; Debra Rentz, soprano) – 5 February 2019
  • University of Wisconsin-Stevens Point Wind Symphony (Michael Butler, conductor) – 5 December 2018
  • California State University, Northridge, Wind Ensemble (Lawrence Stoffel, conductor) – 27 November 2018


Works for Winds by this Composer


Resources

Whirlies: Instructions on whirly construction are in the score. However, these can also be purchased at Harmonic Whirlies.