INTARSIA
for wind ensemble
JOHN FITZ ROGERS
Base Two Music Publishing, Inc. (ASCAP)
Instrumentation (one player per part)
ForPerusalOnly Performance materialsmustbe obtainedfromthe composer.Visit www.johnfitzrogers.comformore information.
1 Piccolo
4 Flutes (4th Flute doubles on Piccolo)
3 Oboes (3rd Oboe doubles on English Horn)
1 Clarinet in Eb
5 Clarinets in Bb
1 Bass Clarinet
2 Bassoons
1 Contrabassoon
1 Soprano Saxophone
1 Alto Saxophone
1 Tenor Saxophone
1 Baritone Saxophone
6 Horns in F
6 Trumpets in C
4 Tenor Trombones
1 Bass Trombone
2 Euphoniums
2 Tubas (sempre a2)
Piano Contrabass
Timpani (4 drums)
Percussion 1: Vibraphone, Suspended Cymbal, Piccolo Wood Block, Brake Drum (high)
Percussion 2: Crotales (two octaves), Bongos, Triangle, *China Cymbal (medium register)
Percussion 3: Triangle, Suspended Cymbal, Tom-Toms (4 drums, high to low), *China Cymbal (high register)
Percussion 4: Glockenspiel (with sustain pedal), Suspended Cymbal, Vibraslap, Rachet, Bass Drum (shared with Perc. 5), Triangle (high), *China Cymbal (low register),
Percussion 5: Temple Blocks (5), Tam-Tam, Tubular Bells, Bass Drum (minimal ring; shared with Perc. 4), Snare Drum
Percussion 6: Xylophone, Triangle (high), Tam-Tam, Suspended Cymbal, Mark Tree
* Three different sized China Cymbals are called for in mm.307-313 – low, medium, and high registers. However, use of these cymbals is optional. If included, the cymbals should be at least 16” (approximately) and larger, with a decent ring time. All three instruments should match closely in timbre and decay but differ in register, and the cymbals should be struck directly on their edges with the shaft of a thin Triangle beater In no instance should small China Cymbals be used. If properly sized and reasonably matching China Cymbals are not available, they should be omitted altogether.
Transposed Score
Duration: 17’30” ca. (metronome markings are approximate)
World premiere: October 23, 2022 by the University of South Carolina Wind Ensemble Cormac Cannon, conducting; Koger Center for the Arts, Columbia, SC
(2nd printing; November 2022)
Program Note:
At one time in my life, I was quite interested in furniture making and woodworking. One thing I found fascinating and still find fascinating is wood’s incredible variety as well as the singularity of every board Each species of tree has its own personality, and each individual tree is unique. When woodworking, it’s good to keep such idiosyncrasies in mind, especially when juxtaposing different varieties. One technique of juxtaposition is called intarsia, which refers to a kind of inlay used to create mosaics from different kinds and shapes of wood. It’s also a term used in knitting when creating patterns with differently colored and textured yarns.
As I began to compose this work, I thought about this technique and how appropriate it seemed for wind ensemble, with its tremendous possibilities for musical color, texture, and combinations. Although some colors match beautifully, others contrast strongly. Some instruments are made of wood while others are made of metal, and while some voices stand out, others blend and recede. In fact, it seems to me that a wind ensemble is like a microcosm of a society with many unique voices. And like society, the challenge is to create a harmonious and vibrant whole while still allowing for individuality
In Intarsia, I focus on different kinds of contrasting musical material. There are long held notes and slowly moving melodies that blur and overlap; these contrast against sharp, percussive chords. There are juxtapositions of high and low voices, of bright and dark colors, and of brass and woodwinds. There are pure, consonant harmonies as well as dissonant clusters of notes. Each of these contrasting ideas forms part of a larger sonic mosaic that weaves together disparate voices.
John Fitz Rogers (b. 1963)
must beobtained fromthe composer.
materials must beobtained fromthe composer.
materials must beobtained fromthe composer.
materials must beobtained fromthe composer. Visitwww.johnfitzrogers.comfor more information.
Performance materials must beobtained fromthe composer. Visitwww.johnfitzrogers.comfor
ForPerusalOnly Performance
materials must beobtained fromthe composer. Visitwww.johnfitzrogers.comfor more information.
must beobtained fromthe composer.
ForPerusalOnly Performance materials must beobtained fromthe composer. Visitwww.johnfitzrogers.comfor more information.
materials must beobtained fromthe composer.
ForPerusalOnly Performance
Visitwww.johnfitzrogers.comfor
materials must beobtained fromthe composer.
must beobtained fromthe composer. Visitwww.johnfitzrogers.comfor more
materials must beobtained fromthe composer.
materials must beobtained fromthe composer.
materials must beobtained fromthe composer.
must beobtained fromthe composer.
ForPerusalOnly Performance materials must beobtained fromthe composer. Visitwww.johnfitzrogers.comfor more information.
ForPerusalOnly Performance materials
Visitwww.johnfitzrogers.comfor more information.
must beobtained fromthe composer.
beobtained fromthe composer.
beobtained
materials must beobtained fromthe composer.
ForPerusalOnly Performance materials must beobtained fromthe composer. Visitwww.johnfitzrogers.comfor more
ForPerusalOnly Performance materials must beobtained fromthe composer. Visitwww.johnfitzrogers.comfor more information.
materials must beobtained fromthe composer.
materials must beobtained fromthe composer.