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David Holsinger

David Holsinger


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Subtitle: For Symphonic Band, Baritone Voice & Mixed Chorus


General Info

Year: 1995 / 2001
Duration: c. 49 :00
Difficulty: VI (see Ratings for explanation)
Publisher: Southern Music
Cost: Score and Parts (print) - $275.00   |   Score Only (print) - movement scores available separately


Movements

1. Kings (1996) – 19:30
2.The Deathtree (1986) – 13:50
3. Symphonia Resurrectus (1997) – 15:20


Instrumentation

Full Score
C Piccolo
Flute I-II
Oboe I-II
Bassoon I-II
E-flat 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
B-flat Cornet I-II-III
B-flat Trumpet I-II
Horn in F I-II-III-IV
Trombone I-II-III
Euphonium
Tuba I-II
Timpani
Percussion I-VI,

(percussion detail desired)

Baritone Voice
SATB Chorus


Errata

None discovered thus far.


Program Notes

In 1986, David Holsinger completed The Death Tree -- a fairly large and profoundly programmatic work for winds, percussion and solo baritone voice depicting the arrest, trial and crucifixion of Jesus Christ. The premise of the initial movement lies in the irony of the historical setting: The people of Israel assumed that the coming King would be a warrior, saving them from the oppression of the Romans. Instead, they were presented with a servant king. The piece opens in a slow tempo, the baritione soloist intensely proclaiming the text, setting the mood for the symphony.

Holsinger provides Kings with a strong sense of symmetry and cohesion. The movement both begins and ends quietly and slowly. The tempos and dynamics in the central sections are varied, but always "connected."

Like Kings, The Death Tree begins quietly, but in a more mystical manner. Holsinger takes the listener through the arrest, trial and crucifixion of Jesus Christ. The hammer blows of the nails into the cross are penetrating and incisive, followed by baritone solo enunciating a poignant text.

Holsinger indicated that when he finished The Death Tree (1986), he left it with just "a bit too much hope." Because the resurrection had not yet occurred, the composer felt that he needed to take the listener into the battle between death and the promise of the resurrected life forthcoming. The movement begins with a heavy sense of darkness: ominous, foreboding, cacaphonic, aimless, heavily dissonant. Out of the midst of hopelessness, the choir brings a new melody. The text is one of promise, but the brutal tone of the choir and the winds/percussion does not match the text.

- Program Note extracted from analysis by Douglas Nimmo


Commercial Discography


Media


State Ratings

None discovered thus far.


Performances

To submit a performance please join The Wind Repertory Project


Works for Winds by this Composer


Resources