Please DONATE to help with maintenance and upkeep of the Wind Repertory Project!

Marche Jejune

From Wind Repertory Project
Jump to navigation Jump to search
Robert Langslet

Robert Langslet


This article is a stub. If you can help add information to it,
please join the WRP and visit the FAQ (left sidebar) for information.


General Info

Year: 2017
Duration: c. 3:25
Difficulty: (see Ratings for explanation)
Publisher: Manuscript
Cost: Score and Parts - Unknown


Instrumentation

Full Score
C Piccolo
Flute I-II
Oboe I-II
English Horn
Bassoon I-II
Contra-Bassoon
E-flat Soprano Clarinet
B-flat Soprano Clarinet I-II-III
B-flat Bass Clarinet
B-flat Soprano Saxophone
E-flat Alto Saxophone
B-flat Tenor Saxophone
B-flat Piccolo Trumpet
E-flat Baritone Saxophone
B-flat Trumpet I-II-III
Horn in F I-II-III-IV
Trombone I-II-III
Bass Trombone
Euphonium
Tuba
Percussion

(percussion detail desired)


Errata

None discovered thus far.


Program Notes

March Jejune is an exploration of the march form, a type of composition that has been such an important part of the American musical heritage. There is some ryeness and tongue in cheek, but the work is also a deeply felt tribute to the musical form.

"Jejune" can mean youthful, unbridled enthusiasm or vigor, or it could be mean dry, uninteresting and intellectually unsatisfying. The composer invites the listener to decide which definition is more appropriate. (The composer instructs the musicians to play "churlishly.")

- Program Note adapted from composer's oral remarks, 2 July 2017


Marche Jejune was written as both an homage to the march form and a tongue-in-cheek exploration of it. While the march makes use of traditional approaches to brass and percussion, there are more modern, non-traditional elements present -- bitonality, mixed meter, and incongruous changes of dynamic, to name a few. These newer elements are in contrasting balance to the aspect of the Marche with the oldest roots: its form. Rather than using the common American march form, it utilizes the European march custom of recapitulation after the breakup strain, which is a technique that predates the march music era itself.

- Program Note by composer


Commercial Discography

None discovered thus far.


State Ratings

None discovered thus far.


Performances

To submit a performance please join The Wind Repertory Project


Works for Winds by this Composer


Resources

  • Robert Langslet, personal communication, July 2017