Homage to Pérotin
This work is the second movement from Nelson's Medieval Suite.
E-flat Soprano Clarinet
B-flat Soprano Clarinet I-II-III
E-flat Alto Clarinet
B-flat Bass Clarinet
B-flat Contrabass Clarinet
E-flat Alto Saxophone I-II
B-flat Tenor Saxophone
E-flat Baritone Saxophone
B-flat Cornet I-II
B-flat Trumpet I-II-III
Horn in F I-II-III-IV
Timpani Percussion I-II-III-IV-V-VI-VII, including:
- Bass Drum
- Crash Cymbals
- Gong (or Tam-tam)
- Marimba (2)
- Snare Drum
- Tenor Drum
- Tubular Bells
None discovered thus far.
Medieval Suite was written in homage to three great masters of the Middle Ages: Leonin (middle 12th century), Perotin (c. 1155-1200), and Machaut (c. 1300-1377). These are neither transcriptions of their works nor attempts at emulating their respective styles. Rather, the music served as a sort of launching pad for three pieces which draw on some of the stylistic characteristics of music from that period, e.g., repetition of rhythmic patterns or modes, modules of sound, proportions that produce octaves, fourths and fifths, use of Gregorian chant, syncopation, long pedal points where a sustained tone regulates melodic progression.
Homage to Perotin springs from his Viderunt, with its driving rhythmic intensity, repetition, and pedal points. The opening section features insistent dissonances in alternation with brass fanfare-like passages. A second theme played by unison brass is written in the Aeolian mode.
Homage to Perotin was first performed March 18, 1983, at the National Conference of the College Band Directors National Association by the Western Michigan University Symphonic Band, Richard J. Suddendorf, conductor.
- Program Note by composer
Wikipedia provides a helpful summary of the importance of this particular chant:
[Viderunt Omnes] is based on an ancient gradual of the same title. The chant was subsequently expanded upon by composers of the Notre Dame School who developed it as a type of early polyphony known as organum. Thought to be written for Christmas, the polyphonic settings would have retained the same liturgical purpose as the original gradual, while being musically enhanced for the festivities. The cantus firmus, or tenor, "holds" the original chant, while the other parts develop complex melismas on the vowels. The various settings of Viderunt Omnes provide context for specific trends in medieval music.
…Perotin's four-part version of Viderunt, one of the few existing examples of Organum Quadruplum, may have been written for the Feast of the Circumcision in 1198. We know that at this time Eudes de Sully, bishop of Paris, was promoting the use of polyphony.
Whatever the original context may have been, Nelson brings the chant into a new era in a deft celebration of the marriage of compositional craft and emotional effusion.
- Program Note by University of Nebraska, Lincoln, Wind Ensemble concert program, 7 October 2015
(Needed - please join the WRP if you can help.)
None discovered thus far.
To submit a performance please join The Wind Repertory Project
- University of Kansas (Lawrence) Symphonic Band (Matthew O. Smith, conductor) – 31 March 2022 (CBDNA 2022 Southwestern Conference, Waco, Tx.)
- University of Kansas (Lawrence) Symphonic Band (Matthew O. Smith, conductor) – 22 March 2022
- Stephen F. Austin University (Nacogdoches, Tx.) Wind Ensemble (David Campo, conductor) - 2 March 2021
- West Chester (Penn.) University Wind Ensemble (Andrew Yozviak, conductor) - 29 November 2020
- Texas State University (San Marcos) Symphonic Winds (Kyle Glaser, conductor) – 5 March 2020
- California State University Northridge Wind Ensemble (Lawrence Stoffel, conductor) – 19 November 2019
- Oklahoma City (Okla.) University Wind Ensemble (Matthew Mailman, conductor) – 7 November 2019
- Northwestern University (Evanston, Ill.) Symphonic Band (Shawn Vondran, conductor) – 25 October 2019
- University of California, Los Angeles, (UCLA) Wind Ensemble (Janet Kim, conductor) – 29 May 2019
- Batavia (Ill.) High School Wind Symphony (Chris Owen & Brian Van Kley, conductors) – 23 February 2019
- Truman State University (Kirksville, Mo.) Wind Symphony I (Sarah Wilson, conductor) – 14 November 2018
- University of Prince Edward Island (Charlottetown, PE, Canada) Wind Symphony (Karem J. Simon, conductor) – 4 November 2018 (Only Leonin and Perotin!)
- James Madison University (Harrisonburg, Va.) Wind Symphony (Stephen Bolstad, conductor) – 26 April 2018
- Penn State University (University Park) Symphonic Band (Dennis Glock, conductor) – 25 April 2018
- Baylor University (Waco, Texas) Symphonic Band (Steve Dailey, conductor) – 20 April 2018
- Lakeshore Wind Ensemble (Manitowoc, Wisc.) (Marc Sackman, conductor) – 2 December 2017
- University of North Carolina, Greensboro, Symphonic Band (Mark Norman, conductor) – 16 November 2017
- University of Miami (Coral Gables) Frost Symphonic Winds (J. Stephen Moore, conductor) – 12 October 2017
- University of British Columbia (Vancouver) Symphonic Wind Ensemble (Robert Taylor, conductor) – 6 October 2017
- Indiana University (Bloomington) Concert Band (Jason H. Nam, conductor) – 26 September 2017
- Ithaca (N.Y.) College Concert Band (Brian Diller, conductor) - 9 March 2017
- University of Texas (Austin) Symphony Band (Ryan S. Kelly, conductor) – 20 February 2017
Works for Winds by This Composer
- Aspen Jubilee (1988)
- Brevard Fanfare
- Chaconne (In Memoriam…)
- Concerto for Piano & Symphonic Band
- Courtly Airs and Dances (1995)
- Danza Capriccio (1991/2013)
- Epiphanies (1994)
- Fanfare for a Celebration (1982/1986)
- Fanfare for Kennedy Center
- Fanfare for the Hour of Sunrise (1991)
- Fanfare for the New Millennium (1999)
- Lauds (Praise High Day) (1991)
- Mayflower Overture (1958)
- Medieval Suite
- Morning Alleluias for the Winter Solstice (1989/1991)
- Night Song (1998)
- Passacaglia (Homage on B-A-C-H) (1993)
- Pastorale (2006)
- Pebble Beach Sojourn (1983/1994)
- Resonances I (1990)
- Rocky Point Holiday
- Savannah River Holiday (1953/1973)
- Sonoran Desert Holiday (1995)
- Te Deum Laudamus
- To the Airborne
- Miles, Richard B. 2000. Teaching Music Through Performance in Band. Volume 3. Chicago: GIA Publications. pp. 383-388.