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Be Glad Then America

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William Schuman

William Schuman


This work is the first movement of Schuman's "New England Triptych."


General Info

Year: 1957 / 1975
Duration: 5:45
Difficulty: VI (see Ratings for explanation)
Original Medium: Orchestra
Publisher: Theodore Presser
Cost: Score and Parts - $145.00   |   Oversize Full Score Only - $45.00   |   Full Score Only - $12.50   |   Oversize Full Score of Complete Triptych - $65.00


Instrumentation

Full Score
C Piccolo
Flute I-II
Oboe I-II
English Horn
Bassoon I-II
E-flat Soprano Clarinet
B-flat Soprano Clarinet I-II-III
E-flat Alto Clarinet
B-flat Bass Clarinet
E-flat Alto Saxophone I-II
B-flat Tenor Saxophone
E-flat Baritone Saxophone
Bass Saxophone
B-flat Cornet I-II-III
B-flat Trumpet I-II-III (III optional)
Horn in F I-II-III-IV
Trombone I-II-III
Euphonium
Tuba
String Bass
Timpani
Percussion (4 players) including:

  • Bass Drum
  • Cymbals
  • Glockenspiel
  • Snare Drum
  • Tubular Bells


Errata

In Score:

  • All winds, m.230-238: All notes preceding rests should be staccato
  • High Woodwinds, m.203-204: Accent w/staccato hard to read
  • Piccolo, m.70: Count 1 is Db not Eb
  • Piccolo, m.83: E F# F#, not F G# G#
  • Piccolo, m.87: All notes are F# not G#
  • Piccolo, m.260: Tongue 1st note of count two
  • Piccolo, m.288: Add accent
  • Flutes, m.43: Add div.
  • Flutes, m.58: Add div.
  • Flutes, m.70: Count 1 is Db not Eb
  • Flutes, m.260: Tongue 1st note of count two (picc. cues)
  • Oboe I, m.260: Tongue 1st note of count two
  • Oboe, Last note: Final note should be a top line F. Some of the notes are clearly a G; some are ambiguous.
  • English Horn, m.28: 2nd note is D
  • English Horn, m.51: F not G
  • English Horn, m.58-60: F E D C B B F#
  • English Horn, m.83-85: All notes are F# not G or G#
  • English Horn, m.86: 1st two notes are F# not G or G#
  • English Horn, m.97: D# C#, not E# D#
  • Bassoon I-II, m.35: Add cresc.
  • Bassoon I-II, m.37: Add ff
  • Bassoon I, m.269: Count 2 is B not D
  • Bassoon II, m.38: D not F
  • B-flat Soprano Clarinet I, m.29: 4th note F# not F
  • B-flat Soprano Clarinet I, m.97-98: F# E Eb, not G# F Fb
  • B-flat Soprano Clarinet II, m.23: Last note is F# not G
  • B-flat Soprano Clarinet II, m.210-213: Slur 8 notes starting on count two
  • B-flat Soprano Clarinet III, m.36: Last note G# not G
  • B-flat Soprano Clarinet III, m.71:  C# not D#
  • B-flat Soprano Clarinet III, m.75:  2nd note is D not C
  • B-flat Soprano Clarinet III, m.94-98: Pitches should be same as Horn I
  • B-flat Soprano Clarinet III, m.283: Add accent
  • E-flat Alto Clarinet, m.83-87: All notes are G# not A#
  • E-flat Alto Clarinet, m.91-93: 1st two notes are G# D#, not A# E#
  • E-flat Alto Clarinet, m.275: Count 2 is G not F#
  • B-flat Bass Clarinet, m.35: Add cresc.
  • B-flat Bass Clarinet, m.37: Add ff
  • E-flat Alto Saxophone I, m.83-87: All notes are G# not A#
  • E-flat Alto Saxophone I, m.91-93: 1st two notes are G# D#, not A# E#
  • E-flat Alto Saxophone I, m.260: Tongue 1st note of count two (ob. cues)
  • E-flat Alto Saxophone II, m.33: Last note G not F#
  • E-flat Alto Saxophone II, m.83-87: All notes are D# not E#
  • E-flat Alto Saxophones I-II, m.189: Slur 2nd and 3rd notes
  • E-flat Alto Saxophones I-II, m.205: D not A
  • E-flat Alto Saxophones I-II, m.230: Rhythm should match baritone Saxophone
  • B-flat Tenor Saxophone, m.186: Add accent to last note
  • Bass Saxophone, m.35: Add cresc.
  • Bass Saxophone, m.37: Add ff
  • Bass Saxophone, m.58: 1st note staccato
  • Bass Saxophone, m.59: Accent without staccato
  • Bass Saxophone, m.65: Count 2 is two eighth notes
  • B-flat Cornet III, m.101: Add tenuto to 1st note
  • B-flat Cornet II-III, m.177: Add staccato to 1st note
  • B-flat Cornet II-III, m.179: Count 3 is D# not D
  • B-flat Cornet III, m.216-217: Slur and add tenutos to all notes
  • B-flat Cornet III, m.224-227: Slur groupings should match other cornets
  • B-flat Cornet I-III, m.305: fff not ff
  • B-flat Trumpet II, m.63: Accent count 1
  • B-flat Trumpet I-III, m.209: Add breath mark between 3rd, 4th notes
  • B-flat Trumpet II, m.220: Both notes on count 2 are D not E
  • Horn in F I-IV, 25: Add div.
  • Horn in F III-IV, m.66-68: Slur 3, Slur 2 - not slur 5
  • Trombone I, m.177: Last pitch is a sixteenth note
  • Trombone I-III, m.250: Count 2 is Fb not Db
  • Baritone, m.43: Add ff
  • Tuba, m.51: F not G
  • Tuba, m.186: 3rd note is Ab not Gb
  • Timpani, m.288-289: All notes are F not E
  • Tubular Bells, m.306-307: Tie between quarter notes is missing


In Parts:

  • Piccolo, m.80: Add tenuto to 1st note
  • Piccolo, m.288: Add accent
  • Flute I, m.80: Add tenuto to 1st note
  • Flute II, m.80: Add tenuto to 1st note
  • Flute II, m.285: Add accent
  • Oboe I, m.217: Add staccato
  • Oboe II, m.217: Add staccato
  • B-flat Soprano Clarinet I, m.80: Add tenuto to 1st note
  • B-flat Soprano Clarinet II, m.210-213: Slur from m. 210 (count 2) to 213 (count 1)
  • B-flat Soprano Clarinet III, m.71: C# not D#
  • E-flat Alto Clarinet, m.275: Count 2 is G not F#
  • B-flat Bass Clarinet, m.35: Add cresc.
  • B-flat Bass Clarinet, m.37: Add ff
  • B-flat Bass Clarinet, m.250: fff not ff
  • Bassoon I-II, m.35: Add cresc.
  • Bassoon I-II, m.94: Add tenuto to the last note
  • Bassoon I-II, m.269: Top divisi plays B not D on count 2
  • E-flat Alto Saxophone I, m.205: 4th line D not A
  • E-flat Alto Saxophone I, m.230: Count 2 is a 4th space Eb dotted 1/8 note, followed by a 4th space Eb 1/16 note. These notes should be slurred and marked with tenutos
  • E-flat Alto Saxophone II, m.33: Last note is G not F#
  • E-flat Alto Saxophone II, m.205: 4th line D not A
  • E-flat Alto Saxophone II, m.230: Count 2 is a 3rd line Bb dotted 1/8 note, followed by a 3rd line Bb 1/16 note. These notes should be slurred and marked with tenutos
  • B-flat Tenor Saxophone, m.186: Add accent to the last note
  • B-flat Tenor Saxophone, m.230: Count 2 is a 2nd space Ab dotted 1/8 note, followed by a 2nd space Ab 1/16 note. These notes should be slurred and marked with tenutos
  • E-flat Baritone Saxophone, m.89: Count 2 is G# not G
  • Bass Saxophone, m.35: Add cresc.
  • Bass Saxophone, m.37: Add ff
  • Bass Saxophone, m.58: Add staccato to the first note
  • Bass Saxophone, m.59: Accent should not include a staccato marking
  • Bass Saxophone, m.65: Count 2 should be two 1/8 notes, not a dotted 1/8 and a 1/16 note
  • Bass Saxophone, m.246: Add accent
  • Bass Saxophone, m.269: First pitch (A) is below range, should be one octave higher
  • Bass Saxophone, m.273: First pitch (A) is below range, should be one octave higher
  • B-flat Cornet II, m.179: Last note is D# not D
  • B-flat Cornet III, m.77: C# not D#
  • B-flat Cornet III, m.179: Last note is D# not D
  • B-flat Cornet III, m.216-217: Add tenutos and slur all
  • B-flat Cornet III, m.224-225: All of m. 224 should be slurred to count 1 of m. 225
  • B-flat Cornet III, m.225-227: Slur missing from m. 225 (count 2) to m. 227 (count 1)
  • B-flat Cornet III, m.227: Remove the printed slur
  • B-flat Trumpets, m.41: First note is 4th space Eb not C
  • B-flat Trumpets, m.63: Add accent to the bottom divisi, count 1
  • B-flat Trumpets, m.209: Breath mark should be placed at the upbeat of count 2
  • B-flat Trumpets, m.282: add legato
  • Trombone I, m.230: Count 1 is Cb not C
  • Trombone I, m.250: Count to is Fb above the staff not Db
  • Trombone II, m.250: Count to is Fb above the staff not Db
  • Trombone III, m.250: Count to is Fb above the staff not Db
  • Baritone BC, m.43: Add Senza Sord.
  • Baritone TC, m.43: Add Senza Sord.
  • Tuba, m.51: F not G
  • Tubular Bells, m.306-307: Tie between quarter notes is missing


Program Notes

Be Glad Then, America was freely transcribed for concert band by the composer from the first movement of New England Triptych - Three Pieces for Orchestra after William Billings. When Jesus Wept and Chester, the other two pieces, were also transcribed for band by the composer and are published separately. When programmed to be played as a group, the three pieces should be performed in the following order:

1. Be Glad Then, America
2. When Jesus Wept
3.Chester

William Billings is described by William Bentley, of Salem, a contemporary, as "the father of our New England music. Many who have imitated have excelled him, but none of them had better original power. He was a singular man, of moderate size, short of one leg, with one eye, without any address, and with an uncommon negligence of person. Still he spoke and sang and thought as a man above the common abilities."

Billings, born in Boston in 1746, started his career in life as a tanner's apprentice, but soon gave up this trade for music, in which he was apparently self-taught. He organized singing schools, composing music for them which was all the more welcome because relations with England had reached the breaking point and the colonists were glad to have their own native music. Billings's many "fuguing tunes" achieved great popularity, but by the time he died in 1800 this kind of music gradually fell into disfavor, leaving Billings poor and neglected. Today, given the prospective of history, we see Billings as a major figure in American music. His indomitable spirit still shines through the sturdy tunes he wrote.

- Program note from score


Media


State Ratings

None discovered thus far.


Performances

To submit a performance please join The Wind Repertory Project

  • San Luis Obispo (Calif.) Wind Orchestra (Jennifer Martin, conductor) – 8 May 2022
  • The Ohio State University (Columbus) Wind Symphony (Daniel Farr, conductor) - 24 April 2022
  • Las Vegas Academy (Nev.) Wind Ensemble (David Macabee, conductor) - 29 September 2021
  • Texas Tech University (Lubbock) Symphonic Wind Ensemble (Pershauna Johnson, conductor) - 8 May 2021
  • Whitworth University (Spokane, Wash.) Wind Symphony (Richard Strauch, conductor) - 14 November 2020
  • University of Chicago (Ill.) University Wind Ensemble (Nicholas J. Carlson, conductor) – 23 February 2020
  • University of Massachusetts Lowell Wind Ensemble (Daniel Lutz, conductor) – 5 December 2019
  • Ohio University (Athens) Wind Symphony (William Talley, conductor) – 24 September 2019
  • University of Virginia (Charlottesville) Wind Ensemble (William Pease, conductor) – 28 April 2019
  • Southern Adventist University (Collegedale, Tenn.) Wind Symphony (Ken Parsons, conductor) – 7 April 2019
  • Keene (N.H.) State College Concert Band (Joshua E. Long, conductor) - 1 November 2018
  • Eastman School of Music (Rochester, N.Y.) Wind Orchestra (Mark Scatterday, conductor) – 23 September 2018
  • California Polytechnic State University, San Luis Obispo, Wind Orchestra (Christopher J. Woodruff, conductor) – 2 June 2018
  • University of Arizona (Tucson) Wind Ensemble (Chad R. Nicholson, conductor) - 26 April 2018
  • University of Wisconsin-Parkside Wind Ensemble (Laura Rexroth, conductor) – 8 March 2018
  • Harding University (Searcy, Ark.) Wind Ensemble (Mike Chance, conductor) – 22 February 2018
  • Boston University (Mass.) Wind Ensemble (David Martins, conductor) – 16 November 2017
  • University of North Texas (Denton) Wind Ensemble (Nicholas E. Williams, conductor) – 26 September 2017
  • Indiana University (Bloomington) Symphonic Band (Eric M. Smedley, conductors) – 26 September 2017
  • University of Cincinnati (Ohio) College-Conservatory of Music Wind Ensemble (Kevin Holzman, conductor) – 18 September 2017


Works for Winds by This Composer


Resources