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Sinfonia Resurrectionis

From Wind Repertory Project
Vaclav Nelhybel

Vaclav Nelhybel


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General Info

Year: 1981 / 2012
Duration: c. 22:00
Difficulty: VI (see Ratings for explanation)
Publisher: Hafabra Music
Cost: Score and Parts (print) - €330.00   |   Score Only (print) - €66.00


Instrumentation

Full Score
Alto Flute
Flute I-II-III/Piccolo I-II-III
Piccolo IV
Oboe I-II
English Horn
Bassoon I-II
E-flat Soprano Clarinet
B-flat Soprano Clarinet Ia,b,c-IIa,b,c-IIIa,b,c
B-flat Bass Clarinet I-II
E-flat Contra Alto Clarinet
B-flat Contrabass Clarinet
E-flat Alto Saxophone I-II
B-flat Tenor Saxophone
E-flat Baritone Saxophone
Cornets I-II-III
B-flat Piccolo Trumpet
B-flat Trumpet I-II
Horn in F I-II-III-IV
Trombone I-II-III-IV
Bass Trombone
Euphonium I-II
Tuba
String Bass
Harp (or keyboard)
Timpani
Percussion I-II-III-IV

(percussion detail needed)

Tape (CD)


Errata

None discovered thus far.


Program Notes

Although the title might suggest otherwise, this work was not meant to present any programmatic content.

Structurally, the composition represents a continuous struggle between turbulent chromatic complexity and diatonic-modal clarity.

In the first 201 measures, the melodic-chromatic element is in constant conflict with the chordal-triadic structures. In measures 202-222, the chromatic and the modal-diatonic element are for the first time merging into one structure. The melody is diatonic-modal, while the bass line is freely panchromatic. Beginning with measure 224, the confrontation between the diatonic and chromatic elements continues, with the diatonic element emerging more prominently.

In measure 445 begins a canon (18 entries) of the twelve-tone (panchromatic) melody. This creates a chromatically saturated background, into which enters, in measure 446, the modal theme (in the 1st horn). A further expansion of the modal element leads into a new section beginning in measure 506, in which the diatonic element, played by the full brass, becomes dominant, while woodwinds add intensity through the use of chromatic elements in wide choral settings.

Finally, in measure 548, the chromatic twelve-tone series emerges transformed into a serene chorale played by English horn and clarinets), with a jubilant final cadence in the dominant-tonic in C major at the conclusion of the work.

- Program Note by composer


The music calls from the past, yet communicates with new compositional techniques, in this revival of the old Czech chorales. The real Nelhybel sound.

- Program Note by World Association of Symphonic Bands and Ensembles (WASBE)


Awards


Commercial Discography

None discovered thus far.


Media


State Ratings

None discovered thus far.


Performances

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Works for Winds by this Composer


Resources