Variations on a Pentatonic Theme

From Wind Repertory Project
Rob Goorhuis

Rob Goorhuis


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General Info

Year: 1987 / 2004
Duration: c. 18:00
Difficulty: VI (see Ratings for explanation)
Publisher: Gobelin Music Publications
Cost: Score and Parts (print) - €270.00   |   Score Only (print) - €51.00


Instrumentation

Full Score
C Piccolo
Flute I-II
Alto Flute
Oboe I-II
English Horn
Bassoon
E-flat Soprano Clarinet
B-flat Solo Soprano Clarinet I-II
B-flat Soprano Clarinet I-II-III
E-flat Alto Clarinet
B-flat Bass 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
Baritone
Euphonium
Tuba
String Bass
Harp I-II
Timpani
Percussion I-II-III-IV

(percussion detail desired)


Errata

None discovered thus far.


Program Notes

Rob Goorhuis wrote his Variations on a Pentatonic Theme (1987) for the Royal Wind band of Thorn, conductor Jan Cober.

The work consists of five character variations on a pentatonic (five-tone) theme. The basic elements of the theme are the descending minor third and the descending major second, which in the course of the composition build up to a broad melody, unfolding itself in the final variation.

The first variation resembles minimal music in its repetitive rhythmic motives. The second variation is explosive in character: rapid broken chords provide a background for soft solo motifs. The third variation is a quiet intermezzo on a slow chorale theme, creating two contrasting moods. The fourth variation is a light-hearted scherzo. The final variation is a brilliant finale with all the necessary ingredients, or, in the composer's words, "the works"

- Program Note from publisher


Variations on a Pentatonic Theme is unusual in that the theme grows from the variations. That is to say, the composer begins by varying a small idea (an interval), without reference to a preconceived theme. Goorhuis describes the origins of the piece:

In the case of creating Variations, I had only six weeks time for writing the piece. It was an opportunity for me because the Royal Band of Thorn was one of our best bands at that time with an outstanding conductor in the person of Jan Cober. The commission also concerned an important contest, so I was very motivated to satisfy the orchestra, the conductor, the jury, and the public.

My first idea was to make a miniature symphony with a slow introduction, the main part, a melodic movement, a kind of scherzo and a finale. However, the time was too short to realize this plan in a conventional way. So I thought of a series of variations, five in fact, with the same basic concept.

The development of a strong theme for a series of variations takes time. So I started with one interval only, the descending minor third. Under the influence of Bartók, of whom I made an intensive study at the time of my conservatory studies, I used the intervals following the Fibonacci series, which resulted in a pentatonic idiom. Indeed, the main theme was developed during writing, bit by bit.

Regarding form, Goorhuis normally begins with a plan but feels free to deviate from it. In his own words, "Form should not dictate the music."

- Program Note from Teaching Music Through Performance in Band


Media


State Ratings

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Performances

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Works for Winds by This Composer


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