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Rapture

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Patrick Harlin

Patrick Harlin


General Info

Year: 2012-14
Duration: c. 8:55
Difficulty: (see Ratings for explanation)
Publisher: Patrick Harlin
Cost: Score and Parts - Rental   |   Score Only - unknown


Instrumentation

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

  • Anvil
  • Bass Drum
  • Bongos
  • Brake Drum
  • Crash Cymbals
  • Crotales
  • Glockenspiel
  • Marimba
  • Snare Drum
  • Tambourine
  • Vibraphone
  • Wood Block
  • Xylophone


Errata

None discovered thus far.


Program Notes

In 2007, in a feat that went largely unnoticed, an expedition of ultra-cavers reached the deepest point in the deepest cave on earth, in Krubera in the Republic of Georgia. Considered the Mt. Everest of caving, this expedition to the bottom of Krubera was racing against a similar expedition in Mexico’s Cheve cave system, both vying for title of world’s deepest cave. Explorers at each camp spent weeks at a time underground in deafening environments and often in absolute darkness.

In the book Blind Descent that chronicles this historical accomplishment, author James Tabor touches on an experience all ultra-cavers undergo at some point in their career, a phenomenon known as “The Rapture.” After weeks underground, absent from normal circadian rhythms, some climbers experience a near crippling onset of emotion, and a primal need to escape. The Rapture is described by climbers as exponentially worse than a panic attack and at times a near religious experience.

While this piece is neither about religion nor super caving, I wanted to capture a blueprint that I think is a universal human experience: the onset of extreme emotion. Similar to extreme emotional states, musical elements in this piece start almost insignificantly and are magnified to their extremes, echoing throughout.

- Program Note by composer


The work's opening minutes reveal the influence of minimalism on Harlin's musical thinking in the form of short repeating motifs and a vibrant rhythmic pulse through the incorporation of hemiola. Soon a longer thematic idea is introduced -- a figure with a descending melodic contour. Repeating in alternation with sustained chordal harmonies, it forms an episode that leads to a relaxed passage and, at length, a moment of stillness and quiet. From here, the music regains momentum, with syncopated rhythms and robust scoring contributing to an extroverted American spirit at the close.

- Program Note from Teaching Music through Performance in Band


Commercial Discography

None discovered thus far.


Audio Links


State Ratings

None discovered thus far.


Performances

To submit a performance please join The Wind Repertory Project

  • California State University – Fullerton Wind Ensemble (Dustin Barr, conductor) – 23 February 2019 (CBDNA 2019 National Conference, Tempe, Ariz.)
  • Clovis (Calif.) North Educational Center Wind Ensemble (David Lesser, conductor) - 15 April 2016 (2016 San Joaquin Valley (Calif.) Concert Band Invitational)
  • Eastman School of Music (Rochester, N.Y.) Wind Orchestra (Eric Laprade, conductor) – 18 March 2016
  • Ball State University (Muncie, Ind.) Wind Ensemble (Thomas E. Caneva, conductor) - 4 December 2015
  • University of North Texas Wind Symphony (Eugene Migliaro Corporon, conductor) - 16 April 2015
  • University of Colorado, Boulder, Wind Symphony (Donald J. McKinney, conductor) - 30 January 2015
  • Western Washington University, Wind Symphony (Christopher Bianco, conductor) - 22 May 2014
  • University of Michigan Symphony Band (Dustin Barr, conductor) - 14 March 2014 *Premiere Performance*


Works for Winds by this Composer


References

  • Keck, Thomas. "Rapture." In Teaching Music through Performance in Band. Volume 11, Compiled and edited by Richard Miles, 768-775. Chicago: GIA Publications, 2018.
  • Patrick Harlin website