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Olympiada

From Wind Repertory Project
Samuel Hazo

Samuel Hazo


General Info

Year: 1997, rev. 2002
Duration: c. 4:40
Difficulty: IV (see Ratings for explanation)
Publisher: Boosey & Hawkes
Cost: Score and Parts - $75.00    |   Score Only - $5.95


Instrumentation

Full Score
Piccolo
Flute I-II
Oboe
Bassoon I-II
Bb Soprano Clarinet I-II-III
Bb Bass Clarinet
Alto Saxophone I-II
Tenor Saxophone
Baritone Saxophone
Trumpet (in Bb) I-II-III
Horn in F I-II-III-IV
Trombone I-II-III (Bass)
Euphonium
Tuba
Timpani
Percussion, including:

  • Bass Drum
  • Cymbal (crash and suspended)
  • Glockenspiel
  • Gong (Tam-tam)
  • Snare Drum
  • Tom-Toms (3 varied and 2 deep)
  • Tubular Bells


Errata

None discovered thus far.


Program Notes

Olympiada was premiered on October 12, 1997, by the Duquesne University Wind Symphony, conducted by Dr. Robert Cameron, at Carnegie Music Hall in Pittsburgh, Pennsylvania. I re-scored Olympiada in 2002, for publication by Boosey and Hawkes, after receiving a request from Dr. Patricia Grutzmacher of Kent State University, who had heard the premiere recording and wished to perform it at the 2003 MENC North Central Division Conference.

Olympiada was written to capture the human conditions of intense glory and pain that only the Olympic Games can inspire, while musically tying themes with a historic Greek feel to modern chord changes and melodies. It opens with an Olympic style brass fanfare to set the tone, and quickly breaks into a variety of themes and settings representing athletic struggle before recapitulating the fanfare at the end.

In its simplest analysis, the piece can be translated as a tone poem of a race. The piece begins with a driving ostinato in the woodwinds. The melodies, rhythms and textures then take the listener through the pace of such a competition. Adrenaline surges and excitement at the outset make way for the low brass theme representing vigorous effort. Layered on top of the low brass theme is the melodic line that immediately preceded it, only this time sounding much more strained. Then, the primal drums take over, conveying a racing pulse surrounded by asymmetric rhythms. The introductory theme is then repeated in a minor key with Greek woodwind passages played over top, representing the timelessness of physical competition. Following the threshold of pain expressed through rising staccato sixteenth-note passages, the tension is released with uplifting chords and textures, symbolizing the end of a struggle and a sense of victory. The recapitulated fanfare is then played by the entire ensemble signifying the sense of global unity, brought about for athleticism, which is the fundamental doctrine of the Olympic Games.

- Program Note by Samuel R. Hazo


Commercial Discography

None discovered thus far.


State Ratings

None discovered thus far.


Performances

To submit a performance please join The Wind Repertory Project

  • Vermont (Burlington) Wind Ensemble (D. Thomas Toner, conductor)– 10 November 2019
  • Kent State (Ohio) Communiversity Band (Wendy Matthews, conductor) – 30 April 2019
  • Concordia University (Seward, Neb.) Symphonic Band (Andrew Schultz, conductor) – 9 October 2018
  • Williamsport (Md.) Community Band (John Slick, conductor) - 13 May 2018
  • Ohio University (Athens) Symphonic Band (Samuel Blair, conductor) – 27 March 2018
  • Prairie Wind Ensemble (East Peoria, Ill.) (Jim Tallman, conductor) – 16 March 2018
  • Florida International University (Miami) Wind Ensemble (Brenton F. Alston, conductor) - – 26 October 2017
  • Jackson (Miss.) State University Symphonic Wind Ensemble (Lowell Hollinger, conductor) – 28 February 2017


Works for Winds by this Composer


Resources

None discovered thus far.