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Sweet

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David Rackley

David Rackley


Subtitle: Handel with Care


General Info

Year: 1975 / 2015
Duration: c. 10:40
Difficulty: V (see Ratings for explanation)
Publisher: Manuscript
For availability information, see Discussion tab, above.


Movements

1. Moderato
2. Allegro
3. Maestoso
4. Allegro Moderato


Instrumentation

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

  • Chimes
  • Crash Cymbals
  • Orchestra Chimes
  • Snare Drum
  • Triangle
  • Vibraphone
  • Xylophone


Errata

None discovered thus far.


Program Notes

This work is based on themes from Suite No. 11 by George Frideric Handel.

- Program Note by score


Sweet was originally written in 1975 for the saxophone quartet of the United States Air Forces Europe Band, Sembach Air Base, Germany. Based on Handel's Suite No. 11 for piano by George Frideric Handel, its purpose was to present music by a composer familiar to German audiences but with an American jazz vocabulary.

Sweet is a four-movement work relying heavily on jazz styles and harmonic language. The first movement opens slowly with a string bass-supported saxophone quartet, reminiscent of Big Band sounds. The theme is later taken up by the woodwinds and brass. The second movement begins with a lively jazz waltz, transitioning into a more classic style reminiscent of the Baroque period but still retaining familiar syncopated jazz rhythms. The third movement is a theme with two variations. It begins with a slow, stately theme in the brass recognizable to those familiar with Handel’s music, followed by the first variation featuring the woodwinds; the second variation features an alto saxophone solo that represents a more obvious jazz style.

The fourth movement reverts to the non-swing style of a Baroque gigue while retaining some jazz harmonic elements. The contrasting midpoint of the movement continues the fast moving melodic pattern of the woodwinds over the slow, majestic brass theme of the third movement. Eventually, this complex juxtaposition of the third and fourth movements returns to the original gigue theme and closes with a rousing flourish by the woodwinds supported by brass and percussion “shots.”

- Program Note by composer


Commercial Discography

None discovered thus far.


Media


State Ratings

None discovered thus far.


Performances

To submit a performance please join The Wind Repertory Project


Works for Winds by this Composer


References

None discovered thus far.