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In Adventu Finalem

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Andrew Boss

Andrew Boss

Subtitle: A Symphony for Stage Band, Antiphonal Wind Players, and Organ

General Info

Year: 2017
Duration: c. 50:00
Difficulty: VI (see Ratings for explanation)
Publisher: Boss Music Studios, available through Murphy Music Press
Cost: Score and Parts (print) - Rental ($495.00)   |   Score Only (print) - $135.00


1. Perspective
2. Prophecy


Full Score
Flute I-II (I doubles Alto Flute; both double Piccolo)
Oboe I-II
English Horn
Bassoon I-II
B-flat Soprano Clarinet I-II-III (I doubles Piccolo Clarinet)
B-flat Bass Clarinet
B-flat Contrabass Clarinet
E-flat Alto Saxophone I-II (I doubles Soprano Clarinet)
B-flat Tenor Saxophone
E-flat Baritone Saxophone
B-flat Trumpet I-II-III-IV (I double Flugelhorn)
Horn in F I-II-III-IV
Trombone I-II-III
Bass Trombone
String Bass
Piano (double Celesta)
Percussion I-VI, including:

  • Bass Drum
  • Bell Tree
  • Bongos
  • Chimes
  • Crash Cymbals
  • Crotales
  • Finger Cymbals
  • Glockenspiel
  • Marimba
  • Sizzle Cymbal
  • Slapstick
  • Snare Drum
  • Suspended Cymbal, medium and large
  • Tam-Tam (2)
  • Temple Blocks
  • Tenor Drum
  • Thunder Sheet
  • Tom-Tom (4)
  • Triangle
  • Vibraphone
  • Water Gong
  • Waterphone
  • Xylophone (2)

Antiphonal Wind Players

  • Wind Quintet (Flute, Oboe, Clarinet, Alto Saxophone, Bassoon)
  • Brass Trios (Trumpet V-VI-VII-VIII, Trombone V-VI, Percussion VII-VIII)

Players humming


None discovered thus far.

Program Notes

“War cannot be humanized. It can only be abolished.” – Albert Einstein

In Adventu Finalem translates from the Latin as “The Final Arrival.” The ideas behind this title stem from both religious and neo-political influences, both referencing an event of cataclysmic and irreversible destruction.

Biblically speaking, this work suggests the event of the Christian apocalypse and Second Coming (Secundus Adventu), a story, supposedly originating as a prophetic vision, that speaks of global catastrophe (the Great Tribulation) and follows with the return of Christ to defeat his enemies once and for all and restart his Kingdom, a world freed from death and suffering.

On the political end, it refers to the world’s continuing and increasing struggles toward maintaining diplomatic relationships among countries due to internal corruption and man’s quest for power and gain. These dangerous traits, paired with the increasing instability in the Middle East, continuing escalations with Russia and North Korea, further radicalization and discord among political parties, unprecedented uses of cyberwarfare, and, ultimately, the renewed incentive of rebuilding nuclear arsenals worldwide are legitimate reasons for concern in a world that seems to be becoming more belligerent as the prospects of a nuclear war have cast a disturbing shadow for the past 50 years. Will we finally arrive to a point of conflict so irreversible and destructive that it cannot be undone?

This work profoundly reflects on these global threats in the form of two large movements that contain within them subsections. The first movement, in a plea for peace, reflects upon and soberly reminds us of the historical significance and consequences of the moment that began the nuclear age. The bombing of Hiroshima and Nagasaki combined killed over 100,000 innocent civilians nearly instantaneously. An additional 80,000 died later of wounds and radiation. Although not the deadliest aspect of World War II, it was perhaps the most consequential act in history, beginning a new age of terror that resulted in a 45-year arms race and, ultimately, global nuclearization. The first movement, titled Perspective, begins by offering a glimpse into the mindsets behind the decision to drop the atomic bomb, and follows with a reflective, lamenting section that represents those individuals, through eye-witness quotes inscribed in the music, who survived the blast and lived to tell their inconceivably horrific stories. An uplifting middle section unveils a divine promise of strength and victory, a promise that does not become fulfilled until the end of the work. The reflective lament returns and climaxes in a passage of great loss, sorrow, and suffering. In the coda, as a sign of peace and unity, the audience joins and sings along the lamenting melody as the solo organ dies away and the movement comes to an end.

Whereas the first movement advocated peace and understanding, the second movement, titled Prophecy, offers a stern warning of the events to unfold should our efforts to resume peace fail. Beginning as a passacaglia, which represents a fixed, eternal power, the work evolves into a fiery toccata based on variations of the passacaglia, and represents the escalating global instability and uncertainty alongside man’s lust for power. Several quotes, ranging from the beginnings of the Cold War to the present, are embedded here and throughout the movement and allude to the mounting consequences of the beginning of the nuclear age. After a lighter middle section offering hope for resolve, the toccata dashes those hopes away and swiftly denigrates [sic] into chaos, represented by a ferocious statement in the organ. The piece begins to portray violent images of catastrophic events that mark the Great Tribulation.

Following the final clashing chords in the ensemble, the piece drifts into darkness until contended by a graceful passage by the antiphonal players. The music slowly recuperates and finds its way toward achieving peaceful consonance as elements from the first movement return along with the passacaglia; this leads the music toward the work’s climactic coda and portraying the fulfilled promise of unconquerable victory that marks the Second Coming. The passacaglia triumphantly returns in the organ and the symphony comes to a close.

This work was written for and dedicated to Jerry Junkin and the Dallas Winds. It is written in loving memory of Fred Junkin.

- Program Note by composer


State Ratings

None discovered thus far.


To submit a performance please join The Wind Repertory Project

  • University of Texas (Austin) Wind Ensemble (Jerry Junkin, conductor) – 17 February 2019
  • Dallas (Tx.) Winds (Jerry Junkin, conductor; Bradley Welch, organ) – 17 April 2018 '*Premiere Performance*

Works for Winds by This Composer