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Molly on the Shore (ed Clark and Schmidt)

From Wind Repertory Project
Percy Aldridge Grainger

Percy Aldridge Grainger (ed. Larry Clark and Schmidt)


General Info

Year: 1920 / 2002
Duration: c. 4:00
Difficulty: IV (see Ratings for explanation)
Publisher: Carl Fischer
Cost: Score and Parts - $100.00   |   Score Only - $40.00


Instrumentation

Full Score
C Piccolo
Flute
Oboe
Bassoon
Contra-Bassoon
E-flat Clarinet
B-flat Soprano Clarinet Solo-I-II-III
E-flat Alto Clarinet
B-flat Bass Clarinet
B-flat Soprano Saxophone
E-flat Alto Saxophone
B-flat Tenor Saxophone
E-flat Baritone Saxophone
Cornets Solo-I-II-III
Horn in F I-II-III-IV
Trombone I-II-III
Euphonium (Bass Clef & Treble Clef)
Tuba
String Bass
Timpani
Percussion I-II-III, including:

  • Bass Drum
  • Crash Cymbals
  • Glockenspiel
  • Marimba, Steel
  • Snare Drum


Errata

None discovered thus far.


Program Notes

One reason why things of mine like Molly on the Shore and Shepherd's Hey are good is because there is so little gaiety and fun in them. While other composers would have been jolly in setting such dance tunes, I have been sad or furious. My dance settings are energetic rather than gay.

In setting Molly on the Shore I strove to imbue the accompanying parts that made up the harmonic texture with a melodic character not too unlike that of the underlying reel tune. Melody seems to me to provide music with initiative, whereas rhythm appears to me to exert an enslaving influence. For that reason I have tried to avoid regular rhythmic domination in my music -- always excepting irregular rhythms, such as those of Gregorian chant, which seem to me to make for freedom. Equally with melody, I prize discordant harmony, because of the emotional and compassionate sway it exerts.

- Program Note by Percy Aldridge Grainger


Molly on the Shore receives frequent performances from high school and university ensembles, and it is certainly appropriate for a variety of concert programs. Although melodically straightforward, this brisk reel will provide several technical challenges, especially for younger players. For a successful performances, students must exhibit firm control over articulation and finger technique. Fast tonguing pervades the upper woodwind parts, and performers should approach the decorative triplet turns with care. Grainger's characteristically intricate tapestry of melodies and countermelodies is thoroughly enjoyed by audiences.

- Notes from Great Music for Wind Band


Commercial Discography

None discovered thus far.


Audio Links


State Ratings

  • Alabama: Class A
  • Arkansas: V
  • Florida: VI
  • Georgia: V
  • Kansas: V
  • Maryland: V
  • Massachusetts: V
  • Michigan: Senior High AA
  • Mississippi: VI-A
  • North Carolina: VI
  • Oklahoma: V-A
  • South Carolina: VI


Performance s

To submit a performance please join The Wind Repertory Project

  • Colorado State University Symphonic Band (T. André Feagin, conductor)- 7 May 2019
  • University of Georgia (Athens) Wind Symphony (Bradley Esau, conductor) - 24 April 2017
  • University of California, Santa Barbara, Wind Ensemble (Paul Bambach, conductor) – 17 November 2016
  • University of North Carolina, Greensboro, Symphonic Band (Mark Norman, conductor) – 23 February 2016
  • Lawrence University (Appleton, Wisc.) Symphonic Band (Matthew Arau, conductor) – 17 November 2015
  • Cuesta Wind Ensemble (San Luis Obispo, Calif.) (Jennifer Martin, conductor) – 17 October 2015

Works for Winds by this Composer


References