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Mary Shelley Meets Frankenstein (flex)
Subtitle: The Frankensteined Edition
Contents
General Info
Year: 2014 / 2020
Duration: c. 5:05
Difficulty: V (see Ratings for explanation)
Publisher: Swan Maiden Press
Cost: Score and Parts (digital) - $40.00
Instrumentation (Flexible)
Full Score
Part 1
- Flute
- Oboe
- B-flat Soprano Clarinet
- Mallets
- Violin
Part 2
- Oboe
- B-flat Soprano Clarinet
- E-flat Alto Saxophone
- B-flat Trumpet
- Mallets
- Violin
Part 3
- B-flat Soprano Clarinet
- B-flat Bass Clarinet
- English Horn
- E-flat Alto Saxophone
- B-flat Tenor Saxophone
- Horn in F
- Trombone
- Euphonium
- Viola
Part 4
- Bassoon
- B-flat Bass Clarinet
- B-flat Tenor Saxophone
- E-flat Baritone Saxophone
- Euphonium
- Cello
- Mallets
Part 5 (optional)
- Bassoon
- Contrabassoon
- B-flat Contrabass Clarinet
- E-flat Baritone Saxophone
- Trombone
- Tuba
- String Bass
- Cello
Percussion (optional), including:
- Bass Drum
- Castanets
- Claves
- Drum Set
- Floor Tom
- High Hat
- High Tom
- Ride Cymbal
- Shaker (or Cabasa)
- Snare Drum
- Triangle
Errata
None discovered thus far.
Program Notes
Knowledge is knowing that Frankenstein is not the monster. Wisdom is knowing that the monster is Frankenstein.
Mary Shelly Meets Frankenstein: A Modern Promethean Tango imagines a scenario where the young author meets her own creation, a monster brought to life whom we colloquially refer to as "Frankenstein." They meet, circling each other in a dance reflective of a tango. Mary is initially curious and sympathetic, while the creature pleads for compassion. In the moment when the two come together, Mary's sympathy is overwhelmed by horror and she begins to panic, which the creature becomes furious with her rejection. With the final notes, we are left asking ourselves – who is the real monster?
- Program Note by composer
Performance Notes
Mary Shelly Meets Frankenstein The Frankensteined Edition is intended to be performed by four or more instrumentalists. This edition is an amalgamation of the original saxophone quartet and the more fully realized arrangement for wind ensemble. The intention is that a group of four or more instrumentalists will be able to arrange (or "Frankenstein") some version of this piece together unique to their particular ensemble.
Parts 1-4 are required for performance. All other parts are optional and may be used in part or in full at the ensemble's discretion. Any of the parts may be doubled by similar or different instruments. Multiple transpositions have been provided for each part. It is likely that some notes may fall out of range for a particular instrument. In this case, the player should use their best judgment to either adjust the octave or assign those pitches to another instrument if available. It is also possible that the original articulation, phrasing or technical demands may not be possible on the player's instrument. The player has permission, in consultation with the ensemble, to make adjustments to their part. These changes may include but are not limited to bowing, adding rolls, adding breath marks, changing dynamics, adjusting or adding a glissando, and leaving notes out for technical facility.
Commercial Discography
None discovered thus far.
Media Links
State Ratings
None discovered thus far.
Performances
To submit a performance please join The Wind Repertory Project
- Millersville (Penn.) University Wind Ensemble (unconducted) - 15 November 2020
Works for Winds by this Composer
Adaptable Music
- Mary Shelley Meets Frankenstein (Flex instrumentation) (2014/2020)
- Steampunk Scenes (Flex instrumentation) (2015/2021)
All Wind Works
- Claremont Triumphant (2011)
- El Salon Mexico (as arranger) (2009)
- Four Grainger Songs (as arranger) (2003)
- The Haunted Carousel (2015)
- Mary Shelley Meets Frankenstein (2014)
- Mary Shelley Meets Frankenstein (Flex instrumentation) (2014/2020)
- Steampunk Scenes (Flex instrumentation) (2015/2021)
- Steampunk Suite (2016)
Resources
- Creative Repertoire Initiative
- Erika Svanoe website Accessed 10 September 2020
- Perusal score