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Mary Shelley Meets Frankenstein (flex)

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Erika Svanoe

Erika Svanoe


Subtitle: The Frankensteined Edition


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.


Media


State Ratings

None discovered thus far.


Performances

To submit a performance please join The Wind Repertory Project

  • University of Minnesota (Minneapolis) University Band (Yi Tang, conductor) – 24 June 2021
  • University of Georgia (Athens) Hodgson Wind Ensemble (Cynthia Johnston Turner, conductor) - 27 April 2021
  • Oneonta (N.Y.) Community Concert Band (Andrew Pease, conductor) - 18 April 2021
  • Shenandoah Conservatory (Winchester, Va.) Wind Ensemble (Timothy Roblee, conductor) - 14 April 2021
  • Millersville (Penn.) University Wind Ensemble (unconducted) - 15 November 2020


Works for Winds by This Composer

Adaptable Music


All Wind Works


Resources

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