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Luminosity: Concerto for Wind Orchestra

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Joseph Schwantner

Joseph Schwantner


General Info

Year: 2015
Duration: c. 20:00
Difficulty: VII (see Ratings for explanation)
Publisher: Schott Helicon Music
Cost: Score and Parts - Rental


Movements

1. Spiritoso e energico - c. 7:00
2. Misterioso - c. 7:30
3. Grande e con forza - c. 7:00


Instrumentation

Full Score
Piccolo
Flute I-II (4-6 players)
Oboe I-II
English Horn
Bassoon I-II
Contrabassoon
E-flat Soprano Clarinet
B-flat Soprano Clarinet I-II-III (6-9 players)
B-flat Bass Clarinet
E-flat Alto Saxophone I-II
B-flat Tenor Saxophone
E-flat Baritone Saxophone
C Trumpet I-II-III
Horn in F I-II-III-IV
Trombone I-II
Bass Trombone
Euphonium (2 players)
Tuba (1-2 players)
String Bass (2 players)
Piano (amplified)
Timpani
Percussion I–II-III, including:

  • Bongos
  • Brake Drum
  • Conga Drums (2)
  • Crotales (2-octave)
  • Cymbal (small, medium, and large suspended)
  • Glockenspiel
  • Marimba (5-octave)
  • Mark Tree
  • Stainless Steel Mixing Bowl (Tovolo brand)
  • Tam-tams (small, medium, and large)
  • Timbales
  • Tom-toms (4)
  • Triangles (2 small, 2 medium, 2 large)
  • Tubular Bells (chimes)
  • Vibraphone (motor off)
  • Wind Chimes
  • Wood Block
  • Xylophone


Errata

(some of these errors may only be applicable to the earliest versions of the score)

Movement One

  • m. 1 - Percussion 2-3: In the score/parts it lists “drums” instead of the more specific “tom-toms” and “conga, bass drum” as is done for Percussion 1 (bongos, timbales).
  • m. 12 – E-flat Clarinet/Clarinet 1-2: Final note should be flagged as a 32nd note
  • m. 13 - Clarinet 1-2/E-flat Clarinet: dynamic at the start of the measure should be "f" and not "ff" as in the similar figures at m. 11, 15, 17 (these are the only instruments that are different).
  • m. 20, Clarinet 3, G should be an F.
  • m. 74-76…the placement of the release pedal indication makes it seem like it is supposed to be above the crotale part instead of below the piano part on the score.
  • m. 82 – Horns and Euphoniums should stand up.
  • m. 84 – Horn I-II, III-IV, Euphonium: Missing half rest, Horn III-IV also missing fermata on quarter note.
  • m. 84 – E-flat Clarinet, Clarinet 1-3 - quarter note should actually be a half note.
  • m. 84, Percussion 3 & Timpani - roll on bar 83 and carry across barline and stop roll on beat 1 of measure 84, followed by a half rest with a fermata.
  • m. 87 - Bassoon 1-2: Superfluous bass clef at end of measure.
  • m. 88-89 - Bass Trombone, play up a minor 6th ("Fb").
  • m. 90 – Trombones should stand up.
  • m. 99 – Trumpets should stand up.
  • m. 109 - Euphonium, no "dim"
  • m. 117 - Percussion 3 & Timpani- "f" not "ff" on the first sixteenth.
  • m. 123 – All standing should sit down.
  • m. 128 - Piccolo- omit "f" under rest.
  • m. 164-168 - Alto Sax I, play down an octave.
  • m. 173 - Flute 2- drop down an octave on the third 32nd note (Cb")- play the remainder of the passage down an octave.


Movement Two

  • m. 56 - Horn 1/2: "sospeso e sostenuto" is missing from this part
  • m. 58 - Oboe 1- the note "F" should be a tied "Eb."
  • m. 60 - Clarinets 1/2/3 – The clarinet parts show an E-natural written note trilling up to an F-flat. This is a product of the score being in C. The flat trill should remain in the score, but the flat should be removed from the parts.
  • m. 75 - Bass Clarinet, should be a tied quarter note tied to a sixteenth.
  • m. 75 - Trombone 2, superfluous tenor clef (in the score).
  • m. 87 - While we are in 3/4 time, the percussion is beamed as though they are in 12/16 (as they will be two measures later). The intent here is to have the conductor give 12/16, since the winds are sustaining anyhow.


Movement Three

  • m. 34 - Percussion II & III- replicate the rhythm of m. 33.
  • m. 39, String Bass - these should be 32nd notes as previously.
  • m. 53, Brass - pickup 16th notes should be accented as previously; tenuto will not be the case until the new rhythm emerges at pickup to m. 118.
  • m. 83, Clarinet 1-2-3/Alto Sax 1 - the last three sixteenth notes in the C score should be: A, F#, C (Bb Clarinets: B, G#, D) (Alto Sax 1: F#, D#, A)>>
  • m. 107, Tuba - the first 16th in the measure should be a C-sharp, not a B-natural.
  • m. 118 - Brass pickups - this is indeed a new pattern (32nd rest, dotted 16th note pickup) as opposed to the previous similar patterns (pickups to m. 33, m. 53, where the pattern is a 16th rest and a 16th note pickup).
  • m. 120 - Timpani, enter after sixteenth rest.
  • m. 121 - Bass Clarinet, Bari Sax, Bsn. 1&2, C. Bsn.- add "ff" to the first sixteenth note on last beat.
  • m. 129 - Trumpet 1-2 - Beaming be: dotted 8th, dotted 8th, 8th+16th tied to 16th+16th as it has been previously.
  • m. 138 - Timpani, enter after 16th rest.
  • m. 165 - Trumpet 2 - the tie is upside down on the part.


Program Notes

Luminosity: Concerto for Wind Orchestra, cast in three extended movements, is Joseph Schwantner’s latest work for wind ensemble. Luminosity was commissioned by the CBDNA (College Band Director's National Association) with support by a consortium of university, college, and professional ensembles initiated and organized by Dr. Nikk Pilato, Emory University.

The ensemble is arranged spatially with an extended array of percussion instruments and piano positioned stage front and woodwinds (on the left) and brass (on the right) seated behind on risers.

Luminosity, an astronomical term for the total amount of energy and brightness radiated by a celestial object, serves as the title and metaphor for a kaleidoscopic palette of rich and vibrant instrumental colors explored in this work. Many of the work's musical ideas are framed by and are associated with specific individual instrumental groups each having their own unique and individual timbral and articulative identities.

In Movement I (Spiritoso e energico), the drums present a series of forceful and propulsive figures immediately followed by a second layer of rhythmically animated woodwind motives. A third sustained pedal note texture stated by muted trumpets and stopped horns completes the presentation of the full ensemble framing this initial opening section and forming the primary musical components developed in the movement.

Movement II (Misterioso), a slow movement for solo clarinet and ensemble, engages the clarinet's wide ranging voice from low whispered and darkly-hued phrases in the haunting chalumeau register to intense and sweeping arch-like gestures in its brilliant upper range. A rapid seven-note figure, first introduced by the clarinet, plays a central generative role and occurs with ever-increasing frequency in the clarinet and ensemble as the movement unfolds.

Movement III (Grande e con forza) draws from a variety of diverse and distinct musical elements that appear earlier in both Movements I and II, leading to several extended statements of a broad polyphonic texture in the brass. A kind of kaleidoscopic quality emerges as the stratified and layered ensemble textures move toward a final forceful conclusion.

- Program Note by composer


The commission consortium members include:

  • James Lambrecht, Augustana College, IL
  • Robert Taylor, University of British Columbia
  • Timothy Oliver, Arkansas State University
  • Stuart Sims, California State University, Stanislaus
  • Jose Riojas, University of Illinois-Chicago
  • Glenn Price, Cincinnati College Conservatory
  • Craig Pare, Depauw University
  • David Clemmer, Eastern Kentucky University
  • Nikk Pilato, Emory University
  • Rod Chesnutt, Florida Gulf Coast University
  • Richard Clary, Florida State University
  • Robert Dunham, Georgia Southern University
  • Linda Moorhouse, University of Illinois
  • Frank Tracz, Kansas State University
  • David Kehler, Kennesaw State University
  • Eugene Corporon, Lone Star Wind Orchestra
  • James Smart, University of Montana
  • John Burdett, Mt. San Antonio College
  • Brent Mounger, New World School of the Arts; Miami, FL
  • Chris Wilhjelm, Ridgewood Concert Band
  • Catherine Rand, University of Southern Mississippi
  • David Campo, Stephen F. Austin State University
  • Timothy Mahr, St. Olaf University
  • Scott Weis, University of South Carolina
  • Joseph Hermann, Tennessee Tech University
  • Scott Jones, Texas A&M Kingsville
  • Sarah McKoin, Texas Tech University
  • Mark Walker, Troy University
  • Jerry Junkin, University of Texas
  • Saul Torres, University of Texas Pan-American
  • Tim Salzman, University of Washington
  • Josh Byrd, University of West Georgia
  • John Climer, University of Wisconsin-Milwaukee


Awards


Commercial Discography

None discovered thus far.


State Ratings

None discovered thus far.


Performances

To submit a performance please join The Wind Repertory Project

  • University of Cincinnati (Ohio) College-Conservatory of Music Wind Orchestra (Terrence Milligan, conductor) – 1 February 2018
  • Temple University (Philadelphia, Penn.) Wind Symphony (Matthew Brunner, conductor)
  • University of Texas (Austin) Wind Ensemble (Jerry Junkin, conductor) – 1 May 2016
  • Kennesaw (Ga.) State University Wind Ensemble (David T. Kehler, conductor; John Warren, clarinet) – 19 February 2016 (CBDNA 2016 Southern Division Conference, Charleston, S.C.)
  • University of Southern Mississippi (Catherine Rand, conductor) – 8 October 2015
  • Lone Star Wind Orchestra (Dallas, Tex.) (Eugene Migliaro Corporon, conductor) – 16 July 2015 - WASBE Conference, San Jose, Calif.
  • Emory University (Atlanta, Ga.) Wind Ensemble (Nikk Pilato, conductor) - 24 April 2015 - *Premiere Performance*


Works for Winds by this Composer


Resources

  • Joseph Schwantner website
  • Pilato, Nikk. "Luminosity: Concerto for Wind Orchestra." In Teaching Music through Performance in Band. Volume 11, Compiled and edited by Richard Miles, 929-946. Chicago: GIA Publications, 2018.