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Tetelestai

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Andrew Boss

Andrew Boss


General Info

Year: 2014
Duration: c. 26:40
Difficulty: VI (see Ratings for explanation)
Publisher: Murphy Music Press
Cost: Score and Parts (print) - $375.00   |   Score Only (print) - $75.00


Movements (played without pause)

1. Homage - 9:55
2. Toccata - 7:20
3. Interlude and Finale - 9:33


Instrumentation

Full Score
C Piccolo
Flute I-II
Oboe I-II
Bassoon I-II
Contra-Bassoon
Bb Soprano Clarinet I-II-III
Bb Bass Clarinet
Bb Contrabass Clarinet
Soprano Saxophone
Eb Alto Saxophone
Bb Tenor Saxophone
Eb Baritone Saxophone
C Trumpet I-II-III-IV
Horn in F I-II-III-IV
Trombone I-II-III
Bass Trombone
Euphonium BC (Treble Clef can be provided)
Tuba
String Bass
Piano
Harp
Organ (optional)
Timpani
Percussion I-II-III-IV-V, including:

  • Anvil
  • Bass Drum
  • Bongos
  • Chimes
  • Conga
  • Crash Cymbals
  • Crotales
  • Glockenspiel
  • Log Drum
  • Marimba
  • Snare Drum
  • Suspended Cymbal
  • Tambourine
  • Tam-Tam
  • Temple Blocks
  • Tom-Tom
  • Triangle
  • Xylophone

Brass Choir (optional, if organ is not available)


Errata

None discovered thus far.


Program Notes

Tetelestai -- Greek for “It is finished” -- is supposedly the last word that Yahashua, the man Christians praise as Jesus Christ, spoke among the people of Jerusalem before his death. The nature of this word -- in the perfect indicative mood of its verbal form teleō -- suggests having completed an action that is both irreversible and infinite. Within the context Yahashua used, it meant that he perfectly fulfilled the demands of the Mosaic Law on behalf of his people, and that he took the punishment his people deserved and placed it onto his own shoulders by his death. The biblical account of the resurrection adds a rich meaning to the word tetelestai, that which not even death can undo what has been completed.

Throughout this symphony, I attempted to capture images of how I interpret these series of biblical events. This is not a programmatic work because I am not retelling the story of this account. Rather, I am portraying images based on how this story makes me feel. The main body of the first movement portrays images of betrayal, despair, suffering, and death -- which are how I interpret the crucifixion. This movement begins and ends with a linear theme in the horns representing a promise waiting to be fulfilled, which returns intimately later in the piece. The second movement portrays images of conflict between two opposing forces, such as life vs. death or dark vs. light. This is how I interpret the war between heaven and sin since “in the beginning” up through Yahashua’s death. The third movement is subdivided into two separate sections; it begins with a short Interlude, followed by the Finale. The Finale begins in a reflective mood and slowly intensifies toward a climactic conclusion that portrays images of victory and rebirth -- which is how I interpret the resurrection.

Because the music of this symphony portrays images rather than adhering to a strict narrative, it allows for a different interpretation of these images from each listener as he or she engages in a unique aural experience as the music unfolds. The listener brings forth their own life experiences and beliefs as to how they relate to the music that they are hearing, and how each listener relates to these images is based on those experiences or beliefs -- whether it is suffering through the loss of a dear friend or loved one, which relates to the images associated in the first movement; personal obstacles or battles, relating to the second movement; or a personal rebirth and reawakening, relating to the Finale.

This work was written for Jerry Junkin to be performed by the University of Texas Wind Ensemble on November 23, 2014, and I have dedicated the piece to him and all the performers within this ensemble. It was written in loving memory of the recent death of the former beloved UT band director, Vincent R. DiNino, whose immense contributions will never be forgotten. A small en memoriam was also incorporated as a passing theme in the third movement to my dear friend Dmitry Volkov, a brilliant young cellist who recently died at 26 of heart failure.

- Program Note by composer


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

  • Michigan State University (East Lansing) Symphony Band (David Thornton, conductor) – 20 March 2018
  • University of Colorado Boulder Wind Symphony (Donald McKinney, conductor) – 23 February 2018
  • Clovis (Calif.) North Educational Center Wind Ensemble (David Lesser, conductor) - 21 December 2017 (2017 Midwest Clinic)
  • University of Iowa (Iowa City) Symphony Band (Mark Heidel, conductor) – 5 October 2017
  • Southeastern Louisiana University (Hammond) Wind Symphony (Derek Stoughton, conductor) - 28 September 2017
  • Illinois State University (Normal) Wind Symphony (Joseph Manfredo, conductor) – 19 February 2017
  • Brooklyn (N.Y.) Wind Symphony (Jeff Ball, conductor) – 20 March 2016
  • Kennesaw (Ga.) State University Wind Ensemble (David T. Kehler, conductor) – 19 February 2016 (CBDNA 2016 Southern Division Conference, Charleston, S.C.)
  • University of Texas Wind Ensemble (Jerry Junkin, conductor) - 23 November 2014 - *Premiere Performance*


Works for Winds by this Composer


References