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Hypnotic Memories

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Rossano Galante

Rossano Galante


General Info

Year: 2017 / 2019
Duration: c. 5:05
Difficulty: IV-1/2 (see Ratings for explanation)
Original Medium: Chamber winds
Publisher: Alfred Music
Cost: Score and Parts (print) - $85.00; (digital) - $85.00   |   Score Only (print) - $11.00


Instrumentation

Full Score
C Piccolo
Flute I-II
Oboe I-II
Bassoon I-II
B-flat Soprano Clarinet I-II-III
B-flat Bass Clarinet
E-flat Alto Saxophone I-II
B-flat Tenor Saxophone
E-flat Baritone Saxophone
B-flat Trumpet I-II-III
Horn in F I-II-III-IV
Trombone I-II-III
Euphonium
Tuba
String Bass
Timpani
Percussion I-II-III-IV-V, including:

  • Bells
  • Crash Cymbals
  • Marimba
  • Shakers
  • Snare Drum
  • Suspended Cymbal
  • Triangle
  • Vibraphone
  • Xylophone


Errata

None discovered thus far.


Program Notes

This charming and somewhat dark musical offering is a departure from this popular composer's usual epic style. Originally scored for 15 players, this piece is much more intimate than his thickly orchestrated grand works. Stylistically, a minimalistic compositional approach is used, as the melodic content slowly unfolds over shifting ostinato patterns. Certainly a mesmerizing and very different work from this remarkable composer.

Hypnotic Memories was premiered November 2017 by the Cincinnati College-Conservatory of Music Chamber Players, conducted by Jon Noworyta.

- Program Note by publisher


Commissioned by and dedicated to Jon S. Noworyta.

- Program Note from score


Hypnotic Memories is a short, charming, and somewhat dark musical snapshot of an evolving composer. It is a departure from the Galante’s usual “epic” style in several ways. Originally scored for fifteen players (two flutes, oboe, four clarinets, two bassoons, french horn, piano, double bass, and three percussionists), this piece is much more intimate than the thickly orchestrated grand works to which those familiar with his music may be accustomed. Stylistically, Galante uses a minimalistic compositional approach throughout Hypnotic Memories, a technique that he has not used in his original music before. Galante is a “melodist.” In this piece, he slowly unfolds the melody in the flutes, oboe, and bassoons over ostinato patterns in the clarinets, piano, and percussion. This slow melodic construction is different than most of his compositions where melodies are complete on their first statement. Galante does not sacrifice his melodic or harmonic vocabulary for the sake of composing in a different style. He remains true to those qualities, which are signatures of his music. In his own words:

I am inspired by nature, human emotions -- both joyous and melancholy -- and of course, by all different types of music. I feel having a strong melodic statement with interesting harmonic movement is the most important element in my music. I believe hearing a melody can convey emotions without words. Music, for me, is the sound of emotions. [Compositionally,] I create two or three melodic themes and develop them into a flowing work utilizing those thematic ideas. This incorporates an introduction, transitions, final statement, etc. I think composing for chamber ensembles is far more difficult than writing for orchestra or band. You have less options and colors to work with when creating music for smaller groups.

My ultimate goal [of this collaboration] is to have created a composition that is a bit different than my usual style. Also, with every composition, my hopes are that the musician and audience will enjoy the musical experience. The reality is that a composer cannot please everyone. I accept that. The biggest challenge is thinking outside of my musical comfort zone. This is very hard for many composers because we all have our box of “tools”. Also, writing chamber music is far more difficult because with less instruments to work with, you have to make those few instruments sound full and rich. I think writing for different ensembles challenges the composer’s mind. I’ve been writing for concert band since I was in my teens. I know what works and what doesn’t. Change the ensemble and you have to work harder to produce a quality composition and a natural balance of the instruments. Basically, it makes you a better composer.

- Program Note by Jon Noworyta


Commercial Discography

None discovered thus far.


Media


State Ratings

None discovered thus far.


Performances

To submit a performance please join The Wind Repertory Project

  • University of Indianapolis (Ind.) Symphonic Wind Ensemble (Jon Noworyta, conductor) - 25 April 2021
  • Bishop Carroll High School (Calgary, Alberta, Canada) Symphonic Band (Chris Herard, conductor) – 22 February 2020
  • Texas Christian University (Fort Worth) Symphonic Band (Jake Hille, conductor) – 11 February 2020
  • Acton (Mass.) Boxborough Regional High School Concert Band (George Arsenault, conductor) – 18 December 2019
  • Cincinnati College-Conservatory of Music Chamber Players (Jon Noworyta, conductor) – November 2017 *Premiere Performance*


Works for Winds by this Composer


Resources

  • "New Music Reviews." The Instrumentalist, 75/1 (August/September 2020), p. 25.
  • Perusal score