VICENTE LUSITANO
F PE O R RU ON S A LY L
EMENDEMUS IN MELIUS Arranged for Concert Band by ANDREW CONKLIN
Full score
IL
Ivy Las Music
INSTRUMENTATION Piccolo/Flute 3 Flute 1, 2 Oboe 1, 2 Bassoon 1, 2 Bb Clarinet 1, 2, 3 Bass Clarinet Contra-alto Clarinet (optional) Alto Saxophone 1, 2 Tenor Saxophone Baritone Saxophone
F PE O R RU ON S A LY L
Bb Trumpet 1, 2, 3 Horn 1, 2, 3, 4 Trombone 1, 2 Bass Trombone Euphonium Tuba Double Bass
Timpani Glockenspiel, Chimes & Crash Cymbals Crotales & Bass Drum Vibraphone & Hi-hat Triangle & Suspended Cymbal
Transposed Score
Duration: ca. 5:30–6:00
PERFORMANCE NOTES
This arrangement of Emendemus in Melius, a motet by the Renaissance composer Vicento Lusitano (ca. 1520 – ca. 1562), offers a chance to focus on legato phrasing and continuity of line. The arrangement mostly adheres to the original motet's polyphonic texture, so careful attention to phrasing is crucial. Players should be encouraged (and then reminded) to play their slurred lines as they would sing melodies: always with a clear sense of beginning, ending, and dynamic direction. Lusitano's piece invites us to inhabit the transcendent beauty of Renaissance vocal polyphony; a successful performance of this arrangement should channel this original impulse.
PROGRAM NOTES
I first heard the music of Vicente Lusitano in April 2020, the start of one of the driest three-year periods in the history of California. In 2023, the rain and snow returned with a vengeance, and we rejoiced even as we knew it was too much all at once for our parched ground to absorb. The gains would be temporary. Lusitano’s radiant vocal music sounds like something beamed in from a distant time and place, which in a way it is: the African-Portuguese composer lived in 16th-Century Europe, writing motets and music theory treatises before falling into obscurity for about 400 years. The recent ripple of attention around Lusitano reminds me of the abundant wetness we Californians enjoyed in 2023: I am grateful for it, yet I fear the gains will be temporary. There exist plenty of concert band arrangements of Renaissance music, yet to my knowledge not a single work by this important composer has been arranged for wind ensemble (or orchestra, for that matter). If this truly is the first band arrangement of Lusitano's music, let it be the first of many to come.
Published by Ivy Las Music www.andrewconklin.net Contact the composer: info@andrewconklin.net © Copyright 2023 by Andrew Conklin and Ivy Las Music Printed in the U.S.A.
for Dr. Vu Nguyen and the University of the Pacific Bands Program
Transposed Score
EMENDEMUS IN MELIUS
VICENTE LUSITANO Adagio, espressivo e molto legato ( = 46)
Piccolo 1 Flute 2
1 Oboe 2
1
7
6
5
4
3
8
F PE O R RU ON S A LY L
1
2
Bassoon
2
Arranged by ANDREW CONKLIN
B♭ Clarinet 2
3
Bass Clarinet
Contra-alto Clarinet
1
Alto Saxophone 2
Tenor Saxophone
B♭ Trumpet 2
3
1
2
F Horn 3
4
1
Trombone 2
Bass Trombone
Euphonium
Timpani
Glockenspiel
Crotales
Vibraphone
tuning:
medium mallets
let ring always
bowed
let ring always
Triangle
ord., medium mallets (audible articulation but not too bright)
Copyright © 2023 by Andrew Conklin and Ivy Las Music (ASCAP)
pizz.
let ring always
Tuba
Double Bass
Baritone Saxophone 1
To B. Dr.
4
Emendemus in Melius 9 Picc. 1 Fl. 2
1 Ob. 2
1 Bsn. 2
12
13
11
15
14
16
17
F PE O R RU ON S A LY L
1
10 Warm, flowing
B♭ Cl. 2
3
Bs. Cl.
C. A. Cl.
A. Sax. 2 T. Sax. B. Sax. 1
1
B♭ Tpt. 2
3
1
2
F Hn 3
4
1
Tbn. 2
B. Tbn.
Euph.
Timp.
Glock.
B. Dr.
H-hat
Tri.
arco
To H-hat
Tba. Db.
sub.
B. Dr.
Emendemus in Melius 18 Picc. 1 Fl. 2
1 Ob. 2
Bsn.
1
22
21
24
23
25
26 Strident, deliberate
F PE O R RU ON S A LY L
B♭ Cl. 2
20
2 1
19
5
3
Bs. Cl.
1 A. Sax. 2 T. Sax.
C. A. Cl.
B. Sax.
B♭ Tpt. 2 3
1
1
2
F Hn 3
4
1
Tbn. 2
B. Tbn.
Euph.
Tba.
Db.
Timp.
Glock.
B. Dr.
H-hat
Tri.
arco
soft mallets
brass mallets
pizz.
H-hat
bright and delicate To Sus. Cym. To Vib.
arco
Sus. Cym.
To Chim.
To Crot.
soft mallets
6
Emendemus in Melius 27 Picc. 1 Fl. 2
1 Ob. 2
1
2
Bsn.
1
30
31
32
33
34
35
To Fl.
F PE O R RU ON S A LY L
B♭ Cl. 2
29
28
3
Bs. Cl.
C. A. Cl.
1
A. Sax. 2
T. Sax.
B. Sax.
1
B♭ Tpt. 2
3
1
2
F Hn 3
4
1
Tbn. 2
B. Tbn.
Euph.
Tba.
Db.
Timp.
Chim.
Crot.
Vib.
Sus. Cym.
Chim.
let ring always
Crot.
straight mute
To Glock.
pizz.
straight mute
straight mute
Emendemus in Melius 40
36
3
Fl. 1
2
1 Ob. 2
1 Bsn. 2
1
38
Delicate and tender
Fl.
39
41
42
44
43
F PE O R RU ON S A LY L
B♭ Cl. 2
37
7
Bs. Cl.
C. A. Cl.
1
A. Sax. 2
T. Sax.
B. Sax.
B♭ Tpt. 2
3
1
2
F Hn 3
4
1
Tbn. 2
B. Tbn.
Euph.
Tba.
Db.
Timp.
Glock.
Crot.
Vib.
Sus. Cym.
open
1
open
open
(Sus. Cym)
Vib. harder mallets than before bright and sparkly
Glock.
medium mallets
straight mute
straight mute
To Tri.
3
8
Emendemus in Melius 45 3 Fl. 1
2
1 Ob. 2
1 Bsn.
2
1
46
47
49
SOLO
48
50
SOLO
SOLO
SOLO
tutti
tutti
tutti
Expansive
52
To Picc.
51
F PE O R RU ON S A LY L
B♭ Cl. 2
3
Bs. Cl.
C. A. Cl.
1
A. Sax. 2
T. Sax.
B. Sax.
1
B♭ Tpt. 2
3
1
2
F Hn 3
4
1
Tbn. 2
B. Tbn.
Euph.
Timp.
Glock.
Crot.
Vib.
Tri.
Tba. Db.
arco
To B. Dr.
open
open
l.v.) (always
arco
To Chim.
pizz.
pedal each chord
B. Dr.
Tri.
Chim.
Emendemus in Melius 53 Picc. 1 Fl. 2
1 Ob. 2
1 Bsn. 2
1
54
tutti
57
Picc.
CONDUCTOR: The 32nd arpeggio figures should sound like a digital delay effect. The first four 32nds of each figure should be clear and present, followed by an immediate and noticeable decrease in amplitude and clarity.
56
55
F PE O R RU ON S A LY L
B♭ Cl. 2
9
3
Bs. Cl.
C. A. Cl.
1
A. Sax. 2
T. Sax.
B. Sax.
3
1
2
F Hn 3
4
1
Tbn. 2
B. Tbn.
Euph.
Tba.
Db.
Timp.
Glock.
B. Dr.
Vib.
Sus. Cym.
To Glock.
Glock.
To Sus. Cym.
1
B♭ Tpt. 2
H-hat
10
Emendemus in Melius
58
Picc.
1 Fl. 2
1 Ob. 2
1
60
61
Like a giant exhalation
light and gentle
light and gentle light and gentle
F PE O R RU ON S A LY L
1
2
Bsn.
59
B♭ Cl. 2
3
Bs. Cl.
C. A. Cl.
1
A. Sax. 2
T. Sax.
B. Sax.
1
B♭ Tpt. 2
3
1
2
F Hn 3
4
1
Tbn. 2
B. Tbn.
Euph.
Tba.
Db.
Timp.
Glock.
B. Dr.
H-hat
Sus. Cym.
To Vib.
To Cr. Cym.
Sus. Cym.
light and gentle
light and gentle
Cr. Cym.
light and gentle light and gentle light and gentle
Tri.
Emendemus in Melius
Picc.
1 Fl. 2
1 Ob. 2
1 Bsn. 2
1
63
64
F PE O R RU ON S A LY L
B♭ Cl. 2
62
11
3
Bs. Cl.
C. A. Cl.
1
A. Sax. 2
T. Sax.
B. Sax.
1
B♭ Tpt. 2
3
1
2
F Hn 3
4
1
Tbn. 2
B. Tbn.
Euph.
Crot.
Vib.
Tri.
Crot.
bowed
secco; balance with saxes
() ()
) () (
()
Vib. (medium mallets)
Db.
Cr. Cym.
Tba.
Timp.