PROGRAM NOTES
The conception of my Concerto for Orchestra began with a long reflection on what a concerto for orchestra could mean in the vast sonic landscape of 21st century Contemporary Music. Following the playbook of masterworks set forth by Béla Bartók and Witold Lutosławski, I wanted my contribution to this subgenre to pay homage to the cultural roots that have shaped my compositional voice as well as provide an exciting ride for performers and listeners alike. My journey with the work began while working with composer Carl Vine in 2020 on a Fulbright Fellowship to study at the Sydney Conservatorium. I had begun to design a culturally immersive work that I hoped would not only challenge the orchestra in purely virtuosic ways, but further in terms of the techniques of rhythmic sensitivity that would be needed to perform the styles throughout authentically. My time was cut short in Australia by a global pandemic, prompting me to return to the U.S., though my ambition remained unwavering. Much of my work is about taking sound worlds that have shaped me artistically and reimagining them symphonically.
For listeners, my hope is that there is a sense of familiarity & representation, yet something new to be discovered.
The work is cast in four movements:
I. VIBE CHECK
The term “vibe check” is often used to “check the temperature” of a social situation (gathering, party, etc.) or others to ensure a good time is had by all. This is done to essentially eliminate negative energy from a particular space or to set the energetic precedent for the time shared together. I sought to “set the precedent” for the piece, so to speak, by combining a virtuosic conglomerate of styles that would lay the sonic foundation of all else to be explored. It all begins with a whimsical theme in the trumpets that transports the listener on a journey of groove and mystery.
II. CRUNK
Growing up in the southern U.S., I was deeply immersed in the music of Black marching bands. It started at the age of 5 while watching my sister march in the high school band playing clarinet in the the mid-1990s. What would follow would be several years of appreciating this unique American artform, whether at the Southeastern Regional “Battle of the Bands” watching our local HBCU’s do what they do best, or any of the other many football “bowl” events that would happen in my hometown of Birmingham, AL or elsewhere. This movement is meant to capture the undeniable musicality and the swagger of all that this cultural experience has to offer. “Crunk” is a term in the Black American community which means to take the party to the “next level.” It’s all about the energy.
III. HAVOC and HYMN
This movement is one of duality; of chaos and reflection. Its heavy metal inspired opening gives way to an ominous sonic landscape shrouded in mystery. Then, a tranquil hymn emerges out of the glassy texture. Emotionally & philosophically, one may view this duality as a reminder of what great healing can surface after enduring the adversities of life. After the chaos, I wanted to create a sonic contemplation of what unconditional love might sound like.
IV. FUSION
The final movement is all about pulse. I’ve combined my love of electronic dance idioms and southern Hip-Hop, more specifically “Crunk” music. It is a colorful, chaotic fusion of worlds with hard-hitting groove as well as delicate timbral sensitivity. It drives the piece home turning the orchestra into an acoustic beat machine.
INSTRUMENTATION
3 Flutes (3rd doubling Piccolo)
3 Oboes (3rd doubling English Horn)
3 Clarinets in Bb (3rd doubling Bass Clarinet in Bb)
3 Bassoons (3rd doubling Contrabassoon)
4 Horns in F
3 Trumpets in C
2 Trombones
Bass Trombone
Tuba
Timpani
4 Percussion:
Percussion I - Xylophone, Glockenspiel, Whip, Bongos, Crash Cymbals
1 Large Suspended Cymbal (mallets+brushes).
Percussion II - Tubular Bells, Vibraphone, Wood Blocks, Shaker, Bass Drum.
Percussion III - Crotales (mallets + bow), Tam-tam (mallet + metal beater), Tambourine, 3 Concert Toms (low, mid, high), Referee Whistle, Marimba (share with Perc. IV), shaker (share with Perc. II).
Percussion IV - Triangle, Marimba, Wind Chimes, Drum Set.
Drum Set Layout:
Harp
Piano/Celesta (1 Player)
Bass Guitar
Strings
Duration: 35:00
Flutes:
PERFORMANCE NOTES
*Air Beatboxing - Essentially "talking" into the flute, air beatboxing utilizes the use of talking syllables into the mouthpiece to produce a percussive, breathy series of sounds on the indicated pitches.
There is usually expected to be more air than pitch: "tu" = too "ku" = koo "chu" = choo
*Jet Whistle - a very loud glissando-like sound produced by sealing the embouchure hole completely with lips and blowing a fast, highpressure air stream through the flute.
Other General Notes:
*Crescendo/Decrescendo al niete "to nothing:"
*Gradually move from one technique to the next:
-Flutes, Clarinets, Horns, Trumpets: *air only - A pitchless steady stream of air blown throughout the instrument.
*Accidentals apply for the entire measure, though many cautionary accidentals are also given.
I.VIBECHECK
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