Symphony II (Ticheli)
1. Shooting Stars - 4:41
2. Dreams Under a New Moon - 11:00
3. Apollo Unleashed - 6:05
Eb Clarinet (Movement I only)
Bb Soprano Clarinet I-II-III
Bb Bass Clarinet
Eb Contrabass Clarinet
Alto Saxophone I-II
Trumpet (in Bb) I-II-III
Horn in F I-II-III-IV
Trombone III (Bass)
Timpani (also plays medium triangle)
Percussion (5-6 players), including:
- Bass Drum
- Cymbal (crash, small suspended, medium suspended)
- Snare Drum
- Temple Blocks
- Triangle (small, medium)
- Vibraphone (motor off)
- Woodblocks (mounted)
- Clarinet I, Mvmt I, m. 168: the last sixteenth note of beat 1 should be a B-flat, not a C. / Mvmt. III, m. 63-64, beat one, the first note in each measure should be B-flat, not B-natural.
- Alto Saxophone 1, Mvt 2, m. 4: the 5th 8th note should be a written F natural, not an F#.
The symphony's three movements refer to celestial light -- Shooting Stars, the Moon, and the Sun.
Although the title for the first movement, Shooting Stars, came after its completion, I was imagining such quick flashes of color throughout the creative process. White-note clusters are sprinkled everywhere, like streaks of bright light. High above, the Eb-flat clarinet shouts out the main theme, while underneath, the low brasses punch out staccatissimo chords that intensify the dance-like energy. Fleeting events of many kinds are cut and pasted at unexpected moments, keeping the ear on its toes. The movement burns quickly, and ends explosively, scarcely leaving a trail.
The second movement, Dreams Under a New Moon, depicts a kind of journey of the soul as represented by a series of dreams. A bluesy clarinet melody is answered by a chant-like theme in muted trumpet and piccolo. Many dream episodes follow, ranging from the mysterious to the dark, to the peaceful and healing. A sense of hope begins to assert itself as rising lines are passed from one instrument to another. Modulation after modulation occurs as the music lifts and searches for resolution. Near the end, the main theme returns in counterpoint with the chant, building to a majestic climax, then falling to a peaceful coda. The final B-flat major chord is colored by a questioning G-flat.
The finale, Apollo Unleashed, is perhaps the most wide-ranging movement of the symphony, and certainly the most difficult to convey in words. On the one hand, the image of Apollo, the powerful ancient god of the sun, inspired not only the movement's title but also its blazing energy. Bright sonorities, fast tempos, and galloping rhythms combine to give a sense of urgency that one often expects from a symphonic finale. On the other hand, its boisterous nature is also tempered and enriched by another, more sublime force, Bach's Chorale BWV 433 (Wer Gott vertraut, hat wohl gebaut). This chorale -- a favorite of the dedicatee, and one he himself arranged for chorus and band -- serves as a kind of spiritual anchor, giving a soul to the gregarious foreground events. The chorale is in ternary form (ABA'). In the first half of the movement, the chorale's A and B sections are stated nobly underneath faster paced music, while the final A section is saved for the climactic ending, sounding against a flurry of 16th-notes.
My second symphony is dedicated to James E. Croft upon his retirement as Director of Bands at Florida State University in 2003. It was commissioned by a consortium of Dr. Croft's doctoral students, conducting students and friends as a gesture of thanks for all he has given to the profession.
- Program Note by Frank Ticheli
On the surface, the title of the third movement of Frank Ticheli’s Second Symphony -- Apollo Unleashed —- might evoke the image of a vengeful power. Instead, in the context of the entire symphony, it refers to the brilliant and dazzling light of the sun and is thematically linked to the work’s other movements through its connection to heavenly light (meteors in the opening Shooting Stars and the darkened lunar surface in Dreams Under a New Moon). The work is not explicitly programmatic, and Dr. Ticheli himself warns in the score against taking anything too literally. However, it is easy to manipulate imagery with the characteristic sounds of the score, from its percolating opening conjuring the first rays of sunlight bursting over the horizon to the galloping rhythm of the primary theme supposing the sun god himself as most frequently portrayed: streaming furiously across the sky on a chariot pulled by four white horses.
The piece also has a second inspiration: one of honoring a legend. The work was commissioned in celebration of the 2003 retirement of the late Dr. James Croft (1929-2012) from his position as Director of Bands at Florida State University. Incorporated into this movement in particular is a touching reference in the quotation of a Bach chorale (BWV 433), commonly known in English as Who Puts His Trust in God Most Just. This chorale was a favorite of Dr. Croft’s and was arranged by him in a beautiful setting for band and chorus. As Ticheli states in his own notes on the symphony, the chorale “serves as a kind of spiritual anchor, giving a soul to the gregarious foreground events.”
The movement is cast in a modified rounded binary form with an extended introduction that begins as a steady simmer and eventually boils over into ebullient joyfulness. Mixed asymmetric meters keep the rhythms unpredictable and lively while an ascending diatonic tetrachord becomes layered sequentially, building the texture from sparse to rich and full. As the chorale is introduced, these fragments persist with slight agitation, churning the movement forward to its development, which juxtaposes motives, not just from earlier in the movement but also from the symphony’s first two movements. The final phrase of the chorale signals the concluding moments of the symphony as cascading scales ripple above in the woodwinds before one final shout of the piece’s first few measures finish the piece in an exclamation of pure elation.
- Program Note by Jacob Wallace for the Baylor Wind Ensemble concert program, 19 December 2014
- NBA/Revelli Award (2006)
- Audio CD: North Texas Wind Symphony (Eugene Corporon, conductor).
- Audio CD: Dallas Wind Symphony (Jerry Junkin, conductor).
- MP3 of Movement I at the Manhattan Beach Music site
- MP3 of Movement II at the Manhattan Beach Music site
- MP3 of Movement III at the Manhattan Beach Music site
- Alabama: Class AA
- Florida: VI
- Louisiana: V
- Maryland: VI
- North Carolina: VI
- South Carolina: VI
- Texas: V. Complete
To submit a performance please join The Wind Repertory Project
- University of North Carolina, Greensboro, Wind Ensemble (Kevin M. Geraldi, conductor) – 21 November 2019
- Northshore Concert Band (Evanston, Ill.) (Mallory Thompson, conductor) – 3 November 2019
- Young Artists Wind Ensemble (Boston, Mass.) (David Martins, conductor) – 14 July 2019
- University of North Dakota (Bismarck) Wind Ensemble (James Popejoy, conductor) – 25 April 2019
- University of Colorado Boulder Symphonic Band (Michael Roeder, conductor) – 17 April 2019
- Colorado State University (Ft. Collins) Wind Ensemble (Thomas V. Fraschillo, conductor) - 6 March 2019 (84th Annual ABA National Convention)
- Oklahoma State University (Stillwater) Symphonic Band (Douglas Henderson, conductor) – 4 March 2019
- State University of New York, Potsdam, Concert Band (Joshua Roach, conductor) – 27 February 2019
- Crosby (Tex.) High School Symphonic Band (Kevin Knight, conductor) - 20 December 2018 (2018 Midwest Clinic)
- Oregon State University (Corvallis) Wind Symphony (Olin Hannum, conductor) – 27 November 2018
- University of Kentucky (Lexington) Symphony Band (George R. Boulden, conductor) – 18 November 2018
- University of Michigan (Ann Arbor) Concert Band (Courtney Snyder, conductor) – - 3 October 2018
- The Ohio State University (Columbus) Wind Symphony (Russell C. Mikkelson, conductor) – 26 September 2018
- University of Illinois (Champaign) Wind Orchestra (Beth Peterson, conductor) – 4 May 2018
- Butler University (Indianapolis, Ind.) Wind Ensemble (Michael J. Colburn, conductor) – 26 April 2018
- University of Texas, Arlington, Symphonic Winds (Christopher Evans, conductor) – 26 April 2018
- Ithaca (N.Y.) College Wind Symphony (Benjamin Rochford, conductor) – 26 April 2018
- University of Illinois (Champaign) Wind Orchestra (Beth Peterson, conductor) – 20 April 2018
- Fredericksburg (Tx.) High School Wind Ensemble (Jason Younts, conductor) – 2 April 2018
Works for Winds by this Composer
- Abracadabra (2005)
- Acadiana (2016)
- Amazing Grace (1994)
- Amen! (2009)
- An American Elegy (2000)
- Angels in the Architecture (2009)
- Ave Maria (as arranger) (1825/2004)
- Blue Shades (1996)
- Boundless River (2020)
- Cajun Folk Songs, Part One (1990)
- Cajun Folk Songs, Part Two (1997)
- Concertino for Trombone (1987/2007)
- Concerto for Alto Saxophone and Wind Ensemble (Ticheli) (2014)
- Concerto for Clarinet and Wind Ensemble (2010)
- Dancing on Water (2015)
- December Snow (2015)
- Earth Song for Band (2012)
- First Light (2013)
- Fortress (1988)
- Gaian Visions (1990)
- Ghost Tale (2020)
- Joy (2005)
- Joy Revisited (2005)
- Korean Folksongs from Jeju Island (2013)
- Loch Lomond
- Midnight (2019)
- Midnight in Nairobi (2019)
- Music for Winds and Percussion (withdrawn)
- Nitro (2006)
- Pacific Fanfare
- Portrait of a Clown
- Postcard (1991)
- Rest (2011)
- San Antonio Dances (2010)
- Sanctuary (2006)
- Serenade for Kristin (2018)
- Shaker Gift Song, A (2004)
- Shenandoah (1999)
- Silver Lining (2017)
- Simple Gifts: Four Shaker Songs (2002)
- Songs of Love and Life (2012)
- Sun Dance (1997)
- Symphony No. 1 (tr. Green)
- Symphony No. 2 (2004)
- The Tyger (2008)
- Under the Big Top (2019)
- Vesuvius (1997)
- Wild Nights!
- Frank Ticheli's site at Manhattan Beach Music.
- Interpreting Frank Ticheli's Symphony No. 2 National Band Association Website
- McCutchen, Mathew G. (2009) An Examination of the History and Winning Pieces of the National Band Association's Composition Contest: 1977-2008. Doctoral Dissertation.
- Ticheli, F. (2004). Symphony No. 2 : for Concert Band [score]. Manhattan Beach Music: Brooklyn, N.Y.