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Symphonies of Silence

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Kathryn Louderback

Kathryn Louderback


General Info

Year: 2018
Duration: c. 9:00
Difficulty: V (see Ratings for explanation)
Publisher: Unpublished
Cost: Score and Parts - Unknown


Instrumentation

Full Score
Flute I-II-III-IV
Oboe I-II
English Horn
Bassoon I-II
B-flat Soprano Clarinet 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
B-flat Trumpet I-II-III
Horn in F I-II-III-IV
Trombone I-II
Bass Trombone
Euphonium
Tuba
String Bass
Piano
Harp
Timpani
Percussion, including:

  • Bass Drum
  • Crash Cymbals
  • Crotales
  • Marimba
  • Suspended Cymbal
  • Vibraphone
  • Wood Block


Errata

None discovered thus far.


Program Notes

Symphonies of Silence is the second composition Kathryn Louderback has written for Dr. Chris Chapman at Oregon State University. Inspired by Symphonies of Wind Instruments by Igor Stravinsky (1882-1971), Symphonies of Silence develops two contrasting moods, each telling a unique story before coming together.

Silence is a double-edged sword. It provides a means for creativity, yet it leaves an opening for turmoil. It stimulates growth and reflection, but it magnifies fire’s ravaging effects. Silence is a place for happiness and misery, hope and despair, chaos and calm. In ancient languages, the term “symphonies” means “sounding together”. In Symphonies of Silence, each musical element comes together to grapple with the opposing forces fostered in silence.

The composition’s most important driving force is a chorale. The hymn’s influence permeates the music, even though the full chorale is not heard in its entirety until the end of the work. In Symphonies of Silence, conflict and prayer dance with each other as the story of hope unfolds.

It’s important to understand that the entire work is based on a chorale (9:34-10:05 in the video). While this hymn is in C Major, its peak is an A minor chord. That is the crux of Symphonies – the work is basically 10 minutes of moving from A minor to C Major.

There are two contrasting ideas in Symphonies: a chaotic, contrapuntal, sort-of-atonal atmosphere that is interrupted by a hymn-like, lush, static mood. Each manifestation of the chaos gets more and more out of control, and each hymn “interruption” explores more of the chorale without actually finishing it (until the very end of course).

And finally, each section influences the development of the following sections until the resolution of the piece, where the chorale is heard for the first time in its entirety.

- Program Note by publisher


Commercial Discography

None discovered thus far.


State Ratings

None discovered thus far.


Performances

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Works for Winds by this Composer


Resources