Orchestras don't commonly commission living composers to write full-fledged symphonies, for many reasons that I do in fact understand. Luckily, I've had two out of my five symphonies created for orchestral settings.
So when I write a symphony for band, holistically, I treat it as if I'm writing for orchestra, which is my comfort-zone, my background.
What does this mean?
It means that players are given lots of individual responsibility - and I mean LOTS. Check out the 3rd mvmt of this one, and you'll see what I mean. It also means I try to imbue it with emotional depth throughout the entire work; it's not a suite, where you play a movement and then move on to the next. A symphony means that each movement has something to say to, and about, the previous or next movement(s). It also demands mental and physical endurance. In short, it requires a mature ensemble, and directors who commit to learning and rehearsing, and teaching, a lot of information.
My 5th symphony is an epic journey about finding one's self. It starts with murky and growing anticipation. In mvmt 2, it uses a tenor, in this case the wonderful Jason Slayden, to muse about the "world before me on the open road, leading wherever I choose." The 3rd movement is an instrumental tour-de-force. And the 4th movement features choir, singing: "I breathe, I hope, I love."
I really looked forward to coming to
@txstbands , and I have not been disappointed. Caroline Beatty has prepared this group tremendously, and both the wind symphony and chorus are performing masterfully.
I invite you to join us through the live-stream, tonight, starting at 7:30 (central). Also on the program are Elsa's Processional, Cline's "Masquerade", and Milhaud's "Suite Française".
/ #symphony #windensemble #choir #tenor #grateful
