Purgatorio guion

7/25/2019 Purgatorio guion

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Commissioned

by

and

Dedicated

to

the

James

lvladison

University

Band,

Dr.

J.

Fatrick

Rooney,

Conductor

PURGATORIO

From

'The

Divine

Comedy-

ROBERT

W.

SI,IITH

I

1

5

5

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I

5

5

3

I

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Bf,LWIN

IIISTRUIt{ENXATTON

Conductor

C Piccolo

tst

C

Ftute

2nd

C

Flute

lst

Oboe

i

2nd

Oboe

.,

lst

Bt

CIa¡lnet

+.)

Znd

Bl

Ctarinet

5rd

Bl

Oarinet

Bl.

Bass

Clarinet

El.Contrabass

CIa¡inet

Bassoon

lst

EtAtto

Saxophone

(Bf

Soprano

Saxophorie¡

lll:

,

lÉS

Alto

Saxopohone

,

¡r

,r

B

Tenor

Saxophone

-,.,,:j:.

Et tsaritone Saxophone

lst

Bl

TrumFet

2nd

Bl

Trumpet

5rd

Bb

Trumpet

lst

tlom

in

F

2nd

tlorn

in

F

5rd

Hom

in F

4th

tlorn

in

F

lst

lombone

'

2nd

Trombone

3rd

Trombone

Baritone

Ba¡itone

T.C

tubas

Timpani

Piano

Hallet

R¡cussion

(Xylophone

Taiko

Drum

(opl

low Tom-Tom),

Chimes)'

Fercussion

I

(Snare

Drum.

Taiko

Drurn

(opl

low

Tom-Tom))

Percussion

It

(Bass

Drurn)

Fercussion

III

(Crash

Cymbals,

Suspended

Cymbal,

l-arye

Beaded

Gourd.

Cabasa)



r u r tt l,rftlLt

q

-ü

From

"The

Divine

Comedy

ü

+

OBERT

w.

SMITH

G

:

e

ROGnAM

NOTES

G

DInNE

colvIEDY-

is a

four

movement

work

based

on

Dante

A.lighieri's

litenry

classic

of

the

same

narne.

The

ü

Dante's

trilogr

is

very

basie

one day

Dante

finds himself

lost

in

i

cark

wood.

virgil,

a

character

based

on

the

é

Po€L

aPpears

and

rescues

him. virgit

guides

Dant¿

to

a

contemplation

of

Hell-and

pu,g.iory.

o.nL,

i.riis

=

his hults,

and with

Beatrice

as

his

guide.

is led

into

Faradise

un¿

uit"int

a

gtimpse

of

the

faá

of

óoo.

d

thesecond

of fourmovements

ín'TllE

DIVINEcoMEDy.'Dante,

havingcompleted

hisjourney

-

'The

Inferno,-

is brought

by

virgil

to the

shores

of

Lhe

island

mount¡in

purgatory

in

the

midst

of

the

southern C

mountain

is comprised

of

seven

terr¿ces,

each

representing

one

of

'seven

üory

sins..

ln

each

terrace,

sinners

ó

an

appropriate

P."ry:"

which

is

symbolically

tied

to

their

transgressions

on

earth.

The

sufferi .rdc

anrrrraá

--^

-é

voluntarily

by

the

spirits,in

atonement

for

thlir

sins.

The

compotl

nrr

"ou.n

tog.th;;;;'i.r.rü"-"ntr

4

of

the

sins

of

therseven

tenaces.

For

ocample

the

sin

of

trre

first

terrace

is

'prida-

n.

,oiil'i'loiffiTJ

C

mountain,

bowed

double

by

huge

rocks

on

their

backs.

As the composition develops, tt¡e

soun¿l;íffi;il:

C

their

heavy

loads,

can be

heard

against

the

haunting

melodic

line. r

v'l.rotttuturr,e

d

j:J"1"3

E

on

earth.

As

Dante

and Virgil

continue

up

the

*ount

irt,

ül.V

i.¿

a viclent quaking

at

which

.i';

ffi-td A

'Qloria

in

excelsis

Deol-

(clory

to cod

in tne

ñignest).

Dante

t-earns

that

the

quaking

signats

g,.

.orp"úffi;íffi

d

for

which.all

other

sculs

give

thanks.

The

completion

of

Üre

penance

aliows

the

soul

to

ascend

to

-pandiso.

t

taking

his

or

hei

rightful

positión

in

relatjon

to

God.

',q

q

NOTES

TO

CONDUCTOiT

G

a

horn

solo

should

be

as lyrical

as

possible.

Careful

attentiori

should

be

given

to

balance

between

the

soloist

G

choir

which

responds

to the

opening

chanl

The

flute

and

soprano

,*olpnone

solos

should

be

as

intense

as

C

Please

note

thai

a

clarir¡et

may

be

used.

as

an

appropriate

substitute

for

the

lopranq

saxophone

so¡o.

I

have

not

ó

for

this

purPose.

If

the

substitution

is

necessary,

have the

soroirlr*á

from

tne

saxophone

parl

^=..:

effect

of

the

feet

may

be

enhanc.ed

by

placing

a

piece

or

paper

;;

th.

n*r

unde¡

n.

uppropliaie

root.

1e

C

should

be

audible

but

not

too

energetic.

P¡ease

nót.'th.

cue

at

measure

2z

for

selected

-rorir.:'ir;;il;

il;

+

'The

luferno,-

this

effect

should

bJcarefully

-cast-

for

realisrn

..il

Drums

(opt.

Large

Toms)

are

most

effective

if

placed

on

opposite

sides

of

the ensembie.

I would

suggest care-

G

of

all

of

the percussion

for

optimum

clarity.

eftects

Curing

the

'eart'rrquake-

beginning

at

meFsure

51

should

be

interpreted

wit¡

as

much

eners/

as

€

'cloria

in

excelsis

Deo'

should

be

jubilant

against

the

horns and percussion.

The

chant

rt

r."rut.

gi;ñúld

C

reverent

by

comparison.

secLion

beginning

at

mea-sure

155

should

be

as

aggressive

as

possible.

After

establishing

the tempo,

it

a

conducted

in

one-

hy

careful

attention

to balance

between

the horni and percussicn

at

16i. I

would

suqqest

-

saxophones

to

reinfoice

the

horns

if

audibility

of

the

line

against

the aggressive

percussion

s

a

..;;;.

'*55-'

accented

'hlls-

in

measures

172

and

174

should

ue véry

aggressive.

The

entire

;;;i;,

shoutd

;

a

cacophony

of

sound,

concluding

with

the unison

'C

in

measure

lg1.

This

unison

statement

fJffi;;;;

C

as

the'exclamaüon

point-

ró't

t¡.

entire

tnou.r.nl

The decresc.poco

a

poco

beginning

¡r

rü"rJrig

*

to

the

final not¿

_-

--'

r---

-

r

---

--¡t""'

C

that you. your

ensemble and

your

audience enjoy

'puRcATozuo'

from .THE DTyINE

coMEDy-:

Best

wishes

Eperformancel -

¿

-¿

C

Robert

W.

Smíth-

C

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