Subtitle: Symphony for Band
1. Hubris - 10:15
2. Immortal Thread, So Weak - 11:20
3. The Attentions of Souls - 8:25
Oboe I-II (second doubles English Horn)
Bb Soprano Clarinet I-II-III-IV
Bb Bass Clarinet I-II
Bb Contrabass Clarinet
Eb Alto Saxophone I-II
Bb Tenor Saxophone
Eb Baritone Saxophone
C Trumpet I-II-III-IV
Horn in F I-II-III-IV
Euphonium (Bass Clef & Treble Clef)
Piano (prepared with glass rods)
Percussion I-II-III-IV-V-VI-VII, including:
- Bass Drum, small and large
- Snare Drum
- Crash Cymbals
- Bell Plate
- Log Drum (4 pitches)
- Ocean Drum
- Suspended Cymbals, assorted
- Tam-Tams (2)
- Tom-Toms (4)
None discovered thus far.
For the past 10 years, I've written all of my music in collaboration with my wife, Abby. She titles nearly all of my pieces, a process that usually involves my writing the music, then playing it for her, after which she tells me what the piece is about. Without her help, Aurora Awakes would be "Slow Music Then Fast Music #7 in E-flat." Sometimes she'll hear a piece halfway through my writing process and tell me what the music evokes to her, and that can take the piece in a different (and better) direction than I had originally intended. I've learned that the earlier she is involved in the process, the better the piece turns out. So with Wine-Dark Sea, my symphony for band, I asked for her help months before I ever wrote a note of music.
The commission, from Jerry Junkin and The University of Texas Wind Ensemble, in honor of the 100th anniversary of the Sarah and Ernest Butler School of Music, was for a piece lasting approximately 30 minutes. How could I put together a piece that large? Abby had an idea. Why not write something programmatic, and let the story determine the structure? We had taken a similar approach with Harvest: Concerto for Trombone, my trombone concerto about Dionysus, the Greek god of wine. Why not return to the Greek myths for this symphony? And since this story needed to be big (epic, even), I'd use the original, truly epic tale of Odysseus, as told thousands of years ago by Homer in The Odyssey.
The full Odyssey, it turned out, was too large, so Abby picked some of the "greatest hits" from the epic poem. She wrote a truncated version of the story, and I attempted to set her telling to music. Here is the story the way Abby outlined it (in three movements), and I set it:
After ten years of bloody siege, the Trojan War was won because of Odysseus's gambit: A horse full of soldiers, disguised as an offering. The people of Troy took it in as a trophy, and were slaughtered.
Odysseus gave the Greeks victory, and they left the alien shores for home. But Odysseus's journey would take as long as the war itself. Homer called the ocean on which Odysseus sailed a wine-dark sea, and for the Greek king it was as murky and disorienting as its name; he would not find his way across it without first losing himself.
Odysseus filled his ship with the spoils of war, but he carried another, more dangerous, cargo: pride. This movement opens with his triumphal march, and continues as he and his crew maraud through every port of call on their way home.
But the arrogance of a conquering mortal has one sure consequence in this world: a demonstration of that mortal's insignificance, courtesy of the gods. Odysseus offends; Zeus strikes down his ship. The sailors drown. Odysseus is shipwrecked. The sea takes them all.
II. Immortal thread, so weak
This movement is the song of the beautiful and immortal nymph Kalypso, who finds Odysseus near death, washed up on the shore of the island where she lives all alone. She nurses him back to health, and sings as she moves back and forth with a golden shuttle at her loom. Odysseus shares her bed; seven years pass. The tapestry she began when she nursed him becomes a record of their love.
But one day Odysseus remembers his home. He tells Kalypso he wants to leave her, to return to his wife and son. He scoffs at all she has given him. Kalypso is heartbroken.
And yet, that night, Kalypso again paces at her loom. She unravels her tapestry and weaves it into a sail for Odysseus. In the morning, she shows Odysseus a raft, equipped with the sail she has made and stocked with bread and wine, and calls up a gentle and steady wind to carry him home. Shattered, she watches him go; he does not look back.
III. The attentions of souls
But other immortals are not finished with Odysseus yet. Before he can reach his home, he must sail to the end of the earth, and make a sacrifice to the dead. And so, this movement takes place at the gates of the underworld, where it is always night.
When Odysseus cuts the throats of the sacrificial animals, the spirits of the dead swarm up. They cajole him, begging for blood. They accuse him, indicting him for his sins. They taunt him, mocking his inability to get home. The spirit of his own mother does not recognize him; he tries to touch her, but she is immaterial. He sees the ghosts of the great and the humble, all hungry, all grasping.
Finally, the prophet Teiresias tells Odysseus what he must do to get home. And so Odysseus passes through a gauntlet beyond the edge of the world, beset by the surging, shrieking souls of the dead. But in the darkness he can at last see the light of home ahead.
Wine-Dark Sea is dedicated to Jerry Junkin, without whom the piece would not exist. The second movement, Immortal thread, so weak, telling of Kalypso's broken heart, is dedicated to Abby, without whom none of my music over the past ten years would exist.
- Program Note by composer
- National Band Association/William D. Revelli Memorial Band Composition Contest, co-winner, 2015 (with Paul Dooley's Masks and Machines).
- Wine-Dark Sea has been recommended as interesting, serious and distinctive music by members of the World Association of Symphonic Bands and Ensembles (WASBE).
None discovered thus far.
- Audio: University of Texas Wind Ensemble (Jerry Junkin, conductor) - 12 February 2014
None discovered thus far.
To submit a performance please join The Wind Repertory Project
- Charles River Wind Ensemble (Boston, Mass.) (Matthew M. Marsit, conductor) – 15 March 2020
- Rosemount (Minn.) High School Wind Ensemble (Leon Sieve, conductor) – 7 March 2020
- California All-State High School Wind Symphony (Kevin Sedatole, conductor) - 22 February 2020 (2020 CASMEC Conference, Fresno)
- Stephen F. Austin State University (Nacogdoches, Tx.) Wind Ensemble (David Campo, conductor) – 19 November 2019
- University of Wisconsin – Eau Claire Wind Symphony (John R. Stewart, conductor) – 17 October 2019
- Colorado State University (Fort Collins) Wind Symphony (Rebecca Phillips, conductor) – 10 October 2019
- Lamar University (Beaumont, Tx.) Wind Ensemble (Andrew McMahan, conductor) – 18 April 2019
- Florida State University (Tallahassee, Fla.) Symphonic Band (Patrick Dunnigan, conductor) – 16 April 2019
- Stetson University (DeLand, Fla.) Symphonic Band (Douglas Phillips, conductor) - 13 April 2019
- University of North Texas (Denton) Wind Ensemble (Nicholas E. Williams, conductor) – 11 April 2019
- Johns Hopkins University (Baltimore, Md.) Peabody Wind Ensemble (Harland D. Parker, conductor) – 30 March 2019
- University of Georgia (Athens) Hodgson Wind Ensemble (Cynthia Johnston Turner, conductor) – 28 March 2019
- University of Utah (Salt Lake City) Wind Ensemble (Scott Hagen) – 28 January 2019
- University of Texas, Arlington, Wind Symphony (Douglas Stotter, conductor) – 16 November 2018
- Truman State University (Kirksville, Mo.) Wind Symphony I (Curran Prendergast, conductor) – 14 November 2018
- University of New Mexico (Albuquerque) Wind Symphony (Eric Rombach-Kendall, conductor)– 12 November 2018
- Colorado Wind Ensemble (Denver) (David Kish, conductor) - 19 May 2018
- Cornell University (Ithaca, N.Y.) Wind Symphony (James Spinazzola, conductor) – 6 May 2018
- Sierra Nevada Winds (Rocklin, Calif.) (Robert Halseth, conductor) – 28 April 2018
- Sherwood (Ore.) High School Wind Ensemble (Brant Stai, conductor) – 9 March 2018
- University of Texas Wind Ensemble (Jerry F. Junkin, conductor) - 12 February 2014 - *Premiere Performance*
Works for Winds by this Composer
- Antique Violences (2017)
- Asphalt Cocktail (2009)
- Aurora Awakes (2009)
- Clocking (2007)
- Concerto for Soprano Sax and Wind Ensemble (2007)
- Damn (1998)
- Drum Music: Concerto for Percussion (2011)
- Fanfare For Full Fathom Five (2015)
- Foundry (2011)
- Foundry (Flex instrumentation) (2011/2020)
- The Frozen Cathedral (2012)
- Harvest: Concerto for Trombone (2009)
- High Wire (2012)
- Hymn to a Blue Hour (2010)
- Kingfishers Catch Fire (2007)
- Let Me Be Frank with You (Flex instrumentation) (2020)
- Lightning Field (2015)
- Liminal (2016)
- The Night Garden (2017)
- Places We Can No Longer Go (2018)
- (redacted) (2013)
- Redline Tango (2004)
- The Rumor of a Secret King (2017/2018)
- Sacred Spaces (2019)
- Sasparilla (2005)
- Sheltering Sky (2012)
- Snarl (2018)
- Songs from the End of the World (2015)
- The Soul Has Many Motions (2013)
- Night on Fire (2013)
- Strange Humors (2006)
- Strange Humors (Flex instrumentation) (2006/2020)
- This Cruel Moon (2014/2017)
- This Cruel Moon (Flex instrumentation) (2014/2017)
- Turbine (2006)
- Turning (2007)
- Undertow (2008)
- Until the Scars (2014/2019)
- Weird Flex But OK (Flex instrumentation) (2020)
- Wine-Dark Sea (2014)
- Xerxes (2010)
- Dorsey, Rodney. "Wine-Dark Sea." In Teaching Music through Performance in Band. Volume 10, Compiled and edited by Richard Miles, 1057-1068. Chicago: GIA Publications, 2015.
- Osti Music