Band Bass Clarinet, Bass Trombone, Bassoon, Clarinet, Contrabass, Contrabassoon,...(+)
Band Bass Clarinet, Bass
Trombone, Bassoon,
Clarinet, Contrabass,
Contrabassoon, English
Horn, Euphonium, Flute,
Horn, Keyboard, Oboe,
Percussion, Piccolo,
Timpani, Trumpet, Tuba,
alto Saxophone, baritone
Saxophone, soprano
Saxophone, tenor
Saxophone and more.
SKU: PR.11540425L
Composed by Carter Pann.
Large Score. 92 pages.
Duration 26 minutes.
Theodore Presser Company
#115-40425L. Published by
Theodore Presser Company
(PR.11540425L).
UPC:
680160688159.
MyÂ
work Labyrinth for
Ithaca College could have
easily been titled as my
Third Symphony. The work
is larger in scope than
every other work of mine
for winds, save perhaps
my first symphony. The
piece is cast in two main
parts, each consisting of
two movements. As it
happened I wrote the
movements backwards
(fitting for something
called Labyrinth). The
size of the band is on
par with that of Karel
Husa’s Music for
Prague 1968 with one
exception, there is an
electric keyboard part
which lends certain
moments in the piece an
other-worldly ambience...
sounds that are
altogether different from
anything possible from
acoustic instruments. At
the risk of sounding
obvious or mundane, I had
two words floating around
my brain during the
composing of this work
— HUGE and
melodic. My
predisposition to create
inherently melodic music
is inescapable at this
point in my composing
career. This is the kind
of music I have
gravitated towards since
beginning at the piano so
long ago. I don’t
write ambient or spectral
music, nor do I write
music replete with
extended techniques. The
crafting of melodies with
gravitas has always made
my process of composing
the most satisfying. The
very last movement of
Labyrinth is a gargantuan
crescendo the likes of
the last movement of
Respighi’s The
Pines of Rome or
Ravel’s Bolero and
should leave the audience
and players sonically
drenched by the end.
I’m so honored to
have this opportunity to
compose for Ithaca
College’s 50th
Anniversary of that
seminal work of Karel
Husa’s. I have
known Music for Prague
1968 as long as
I’ve known serious
music for winds. It is my
aim that every moment of
Labyrinth offers the
players as much to bite
their teeth on as it
leaves the audience in
its throng from start to
finish. -CP.