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Millennial Sketches

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Neal Endicott

Neal Endicott


Subtitle: Depressing and/or humorous miniatures for wind ensemble


General Info

Year: 2019
Duration: c. 19:00
Difficulty: VI (see Ratings for explanation)
Publisher: Murphy Music Press
Cost: Score and Parts (print) - $275.00   |   Score Only (print) - $75.00


Movements

1. The Crippling College-Debt Two-Step
2. Scandal Fatigue (a Chaconne)
3. Eine Kleine Nihilistichemusik
4. The "Back in My Day" Blues


Instrumentation

Full Score
C Piccolo
Flute I-II
Oboe I-II
Bassoon I-II
Contrabassoon
E-flat Soprano Clarinet
B-flat Soprano Clarinet I-II-III
B-flat Bass Clarinet
E-flat Contra-Alto Clarinet
B-flat Soprano Saxophone
E-flat Alto Saxophone
B-flat Tenor Saxophone
E-flat Baritone Saxophone
B-flat Trumpet I-II-III
Horn in F I-II-III-IV
Trombone I-II
Bass Trombone
Euphonium
Tuba
String Bass
Piano
Timpani
Percussion I-II-III-IV, including:

  • Agogo Bells
  • Bass Drum
  • Bongos
  • Chimes
  • Cowbells (2)
  • Crash Cymbals (mounted and held)
  • Drum Set
  • Glockenspiel
  • Mark Tree
  • Ratchet (Low and high)
  • Ride Cymbal
  • Slapstick
  • Slide Whistle
  • Snare Drum
  • Suspended Cymbal
  • Tam-Tam
  • Tom-Toms (2: low)
  • Triangle
  • Wood Block (High)
  • Xylophone


Errata

None discovered thus far.


Program Notes

The Millennial Sketches are a series of short, darkly humorous pieces for wind symphony inspired by tropes, media coverage (mostly the objectively stupid "Why Are Millennials Killing the _____ Industry" variety), and memes (both the Internet variety and those in the more traditional Dawkinsian vein) pertaining to millennials and the millennial condition.

The first movement juxtaposes the reality of the college debt crisis and the burden with which it has saddled my entire generation – and following generations – and the relentless and appallingly cheerful forward march (thus, the two-step) of the college debt machine.

The second movement, Scandal Fatigue, represents the muddiness and crushing weight of current events. Scandal after scandal and atrocity after atrocity are presented to us, all overshadowed by the looming and largely ignored, threats of global climate change, income and racial inequality, etc. Attempting to care about all of these issues to the degree they demand, while also pursuing a career/education, having a social life, and getting at least four hours of sleep can be a major struggle. Every now and then it just becomes too much, and you need a rosé and avocado toast break (home ownership be damned).

Movement three, Eine Kleine Nihilistichemusik, was inspired by my mental state at the beginning of the COVID-19 pandemic. The movement makes light of the overwhelming sense of existential dread surrounding the pandemic and its economic fallout. Like many millennials, my humor often manifests in rather dark ways. The juxtaposition of this state of mind to Mozart's Eine Kleine Nachmusik was too enticing to resist.

The "Back in My Day" Blues engages with a phrase (and phrases like it) that are often used to justify abhorrent beliefs, ignorance, refusal to change and disdain for progress. Users of the phrase often bemoan how thin-skinned we "youths" are, how unwilling we are to work, etc., and then immediately turn around and get offended by a same-sex couple holding hands, scream at an innocent cashier for not accepting an expired coupon, beg their children/grandchildren to show them how to perform the most basic computer functions, and support politicians who endorse corporate efforts to undo the protections/privileges that they themselves benefitted from. I most often heard these sorts of comments while working in the service industry. Many friends and loved ones experience these comments from their families. In both situations, we are often expected to silently endure the stream of bullshit directed at us, usually out of "professionalism" or "respect," while (in my case at least) we construct an internalized diatribe of exactly how we'd like to respond if, for instance, our jobs weren't on the line. The fast, be-bop-based saxophone line represents that internal monologue, juxtaposed against swirling gestures and chaos from the other instruments.

- Program Note by composer


Awards

  • Dartmouth College Wind Ensemble Composition Competition, 2020, judge's prize


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