docOld Irish Air Shirl Jae Atwell, Arranger
download 
Report Transcription
Old Irish Air Shirl Jae Atwell, Arranger
Kjos String Orchestra Grade 2½ Full Conductor Score SO358F $6.00 Old Irish Air Shirl Jae Atwell, Arranger Down by the Glenside Neil A. Kjos Music Company • Publisher 2 About the Composer Shirl Jae Atwell earned her Bachelors from Kansas State Teachers College and a Master of Music Theory/Composition degree at the University of Louisville. She also completed four years of post-graduate work in composition at the University of South Carolina. In 1984, Ms. Atwell won the Clifford Shaw Memorial Award for Kentucky Composers; was commissioned to write Fear Not, Little Flock for the 175th anniversary of the Little Flock Baptist Church; and saw the New York City debut of her first opera, Sagegrass. In 1991, another of her operas, Esta Hargis, was premièred at Emporia State University in Kansas, followed shortly by the 1992 debut of Handelian, a work for string orchestra premièred by the Jefferson County All-County Middle School Orchestra. The Southern Baptist Seminary Orchestra in Louisville premièred her Movements Four South, an orchestral suite, in 1993. That year also saw the placement of six Shirl Jae Atwell scores in the permanent collection of the Paris Bibliothèque Internationale de Musique Contemporaine at the invitation of the Contemporary Music International Information Service. Ms. Atwell was named the 1996 winner of the National School Orchestra Association composition contest with her string orchestra piece Modus á Four. She is also the 1997 winner of the Texas Orchestra Directors Association contest with a string orchestra piece entitled Drifen. Lucy, the ballet, with music by Ms. Atwell and choreography by Alun Jones, was premièred by the Louisville Ballet in January 1999. Lucy was inspired by the discovery of a 3.2 million year old skeleton, and was the subject of a Kentucky Education Television documentary that was aired on November 10, 1999. In June 2000, the televised production of Lucy was awarded the Arts & Culture Emmy by the Ohio Valley Chapter of the National Academy of Television Arts & Sciences; in July, a Certificate of Merit was awarded to Lucy by Unda-USA, the National Catholic Association for Communicators; and in January 2001, Lucy was awarded 2nd place by the National Education Television Association for program performance. In 2002, The Greensboro Symphony Orchestra of North Carolina recorded the music to the ballet Lucy, which is now available on Albany Records. The compact disc also includes the orchestral suite Movements Four South, and three string orchestra works, Pulsar, Meander, and Drifen. Ms. Atwell has been commissioned to write works for the McEachern High School String Orchestra of Powder Springs, Georgia; the Oceanfront String Orchestra of Virginia Beach, Virginia; and a full orchestra piece for the 2007 Kentucky All-State Orchestra. In the fall 2008, Ms. Atwell was commissioned to write a full orchestra work, in honor of Lincoln’s Bicentennial, which was premiered by the Louisville Orchestra in February 2009. She has also completed work on her second ballet suite entitled Evoquer. An active composer with many commissions and publications to her credit, Ms. Atwell recently retired from full-time string teaching with the Jefferson County Public Schools in Louisville, Kentucky. She currently serves on retainer for JCPS as an interim and substitute orchestra teacher, and dedicates all available time composing, conducting, arranging, and presenting. Ms. Atwell maintains active memberships in ASCAP, NAfME, ASTA, Texas Orchestra Directors Association, and the Kentucky Music Educators Association. About the Composition The evocatve air “Down by the Glenside” originates in the distant past of Irish oral tradition, and one can’t help wondering about the original, long-forgotten lyrics to this poignant tune. Today it is perhaps best known as the setting for lyrics written in 1916 by the Irish freedom fighter Peadar Kearney. Also known as “The Bold Fenian Men,” the emotional song text describes the Irish struggle for independence from Britain in the 1860s. Down by the Glenside is hauntingly beautiful and induces a serene and blissful state of mind. The melody in the upper strings (mm. 9-24) needs to convey that serenity with accuracy of pitch, phrasing, and rhythm. The violins and violas should sound as one. The same holds true when the melody shifts to the violas and cellos (mm. 29-44). Legato, lyrical playing is a must for this piece. Think of your instrument as an extension of your voice. Instrumentation List (Set C) 8 – 1st Violin 8 – 2nd Violin 5 – Viola 5 – Cello 5 – String Bass 1 – Full Conductor Score Additional scores and parts are available. To hear a recording of this piece or any other Kjos publication, please visit www.kjos.com. SO358 SO358 SO358 3 Down by the Glenside Full Conductor Score Approx. performance time—2:50 Old Irish Air Arranged by Shirl Jae Atwell Serenely (q = 92) # & 43 1 # 3 & 4 Violins 2 String Bass 5 Vla. Cello Str. Bass ≤ ‰ œj œ œ F div. ? # 3 ≥ œ ˙˙ 4 œ P ? # 43 ≥˙ . P Cello 1 & 2 & # ∑ # ?# ?# j œ œ œ ∑ œ. j œ œ œ. œ œ ˙˙ ˙˙ .. ˙. ˙. j œ œ sim. ∑ j œ œ œ ˙˙ œ œ unis. ∑ 7 8 ∑ ˙ ˙˙ ˙ Ó Ó œ ˙ œ ˙. œ ˙. unis. œ. j œ œ ˙˙ .. ˙. ∑ œ. ∑ 4 ∑ ˙˙ .. ∑ 6 ∑ 3 ˙. ∑ B # œ. ∑ 2 ∑ B # 43 Œ Viola Vlns. ∑ ˙. ≤ œ P ≤ œ P œ≤ P [9] œ . J œ œ œ. J œ . J œ œ œ œ œ œ œ ≥˙ . ≥ ˙4 . D str. © 2015 Neil A. Kjos Music Company, 4382 Jutland Drive, San Diego, California, 92117. International copyright secured. All rights reserved. Printed in the U. S. A. Warning! The contents of this publication are protected by copyright law. To copy or reproduce them by any method is an infringement of the copyright law. Anyone who reproduces copyrighted matter is subject to substantial penalties and assessments for each infringement. SO358 4 10 1 & 2 & Vlns. # j œ œ. # j œ œ. B # œJ œ . Vla. 15 1 & 2 & Vlns. # # œ. œ. . B# œ Vla. Cello Str. Bass SO358 j œ œ 16 j œ œ œ œ. J œ J œ. œ . J œ œ œ J ?# ˙. 1 œ œ 2 & œ œ ? # ˙. ? # ˙. j œ œ œ œ. J œ œ œ. J œ œ œ. J œ œ J œ . J œ 13 œ œ œ œ. J œ ˙1 . j œ œ. j œ œ. œ œ œ . J œ ˙. 14 œ œ œ œ. J ˙. ˙. ˙4 . ˙. œ œ œ D str. ˙. B # œJ œ . 12 ˙4 . ˙. # j œ œ. j œ œ ˙. # & œj œ . Vlns. Str. Bass œ. œ œ ? # ˙. 20 Cello œ œ ? # ˙. Str. Bass œ. œ. ? # ˙. Cello Vla. œ œ 11 œ œ 21 ≤ œ ≤ œ œ≤ œ œ. J œ œ. J œ ≥˙ œ ˙ F œ œ ˙ œ œ ˙ œ œ F F ˙ ˙. œ œ F ˙ F œ œ P œ œ P œ œ P F ˙ F ˙. F 4. ˙ 23 œ œ œ œ ˙. ˙ 19 24 œ œ œ œ ˙. œ ˙. œ œ œ j œ œ œ. j œ œ œ. œ œ J œ. ˙. P ˙. P F œ œ œ œ ˙ F ˙ œ œ œ 22 18 œ ˙ œ œ ˙ œ ≥˙ ˙ ˙ œ œ. J [17] œ≤ œ œ ‰ J div. ≤ œ œ ˙˙ P ˙. P # & œ. [25] 1 Vlns. 2 Vla. # ≤ & ˙. P ≤ B # ˙. P 30 1 & 2 & Vlns. Vla. # ˙ # Str. Bass 31 œ. ?# ˙ œ ˙ 2 & # œ œ ˙ B # œ. ? # œ. ?# ˙ ˙. ˙ œ ˙. ˙. ˙ œ ˙ ˙ œ ˙ œ ˙. œ œ ˙ œ œ & œ œ. œ œ 1 Vlns. œ œ œ. # œ. ˙ 27 unis. ˙ ˙. B# j œ œ. 35 œ J œ œ œ. œ œ ˙˙ œ œ ˙ ? # œ œ. J Cello Str. Bass 26 ≤ ? # ˙. Str. Bass Cello œ œ œ J ˙ ?# œ œ ˙ Cello Vla. 5 œ œ œ J j œ œ œ œ J œ 36 œ œ œ J œ J œ. œ œ J ˙ œ œ œ J œ œ ˙ œ J œ. ˙ 37 œ œ œ œ œ œ œ j œ œ. œ œ. J ˙ Œ ≤ œ F œ≤ F ≥ œ œ ˙ P j œ œ. œ œ œ œ œ œ œ J œ. œ œ ≥˙ F œ œ œ J 34 œ ˙ j œ œ . œ œ j œ œ. œ ˙ œ ˙ œ œ œ ˙. F f ˙ f ˙. f œ œ. J ≤ œ œ F œ≤ œ F œ Œ ≤j ‰ œ œ œ P œ. j œ œ [39] 38 ˙. F ˙ œ œ œ œ ˙ œ J œ. œ ≤ ‰ œ œ œ J P [29] œ œ ˙ œ œ œ œ œ ˙. œ 33 œ . œ œ J œ œ. J œ œ J œ. œ. œ œ ˙ j œ œ œ. 32 28 ≤ œ œ ˙ P œ. ≤ œ. F œ œ J œ œ J SO358 6 40 1 Vlns. 2 & & # # ˙. 41 ? # œ œ. J Cello 1 Vlns. 2 Œ ˙ Œ & ˙ Œ ?# œ œ ˙ Cello ? # œ. Str. Bass # & œ F # & œ F B# œ F ?# œ 50 1 Vlns. 2 SO358 # B# Vla. Str. Bass œ œ # & ˙ 45 Cello œ œ ? # ˙. Str. Bass Vla. ≥ ‰ œj ˙ ˙. B # œj œ. Vla. ≥ ‰ œ ˙ J œ≤ J œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ F œ œ ?# œ œ œ œ F œ. œ. j œ œ ˙ ≥˙ f ≥ ˙ f ≥˙ œ œ f ≥˙ f ˙ f ˙. œ ˙. œ œ œ œ œ œ œ œ œ ˙ f ˙ f f ˙ f ˙ f œ œ œ J œ ˙ œ œ 52 œ œ œ 48 œ. œ œ F œ œ j œ œ œ œ ˙ œ œ œ ˙ F œ œ ˙. œ. œ 43 œ œ ˙ 47 œ œ œ œ ˙ œ œ J [46] ≥ ‰ œJ œ ≥ ‰ œ œ J œ œ J œ. 51 42 œ ˙. œ œ ˙. œ œ ˙. œ œ ˙. œ œ œ. œ œ. ˙ œ œ. œ œ. 53 44 œ œ œ J j œ œ. œ œ ˙. œ J œ. œ J œ œ œ œ œ œ œ œ œ œ œ œ ˙. œ ˙. ˙. 49 ˙. œ œ œ œ œ œ j œ œ œ œ œ œ J ˙. , ≥ ˙ [54] f ≥ ˙ f ≥˙ f , ≥˙ f , ≥ ˙ f œ œ œ œ œ 7 # & ˙. 55 1 Vlns. 2 & # 56 ? # ˙. Str. Bass ˙ Œ & # œ B # ˙. Str. Bass œ ˙ # œ & J œ. Vlns. 2 Vla. Cello Str. Bass # œ & J œ. ˙ œ œ B # œJ œ . œ ?# ˙ œ œ œ. ?# J ˙ ˙ œ ˙ 65 1 61 œ 66 ˙. œ . J œ œ œ. J j œ œ. œ œ. J ˙. , 58 ≥ œ œ œ œ F ≥ j œ œ œ œ œ œ œ F ≥ œ J œ œ œ œ œ œ F ≥œ œ œ œ [62] F œ . J œ œ . J œ j œ œ. œ œ. J ≥˙ . œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ j œ œ. j œ œ. j œ œ. œ œ. J ˙. 63 j œ œ. j œ œ. j œ œ. œ œ. J œ 59 œ œ ˙ f ˙ œ œ f ˙ œ œ œ 68 œ. f œ œ œ j œ œ œ œ. œ œ J œ œ. ˙. j œ œ œ œ œ. œ œ J ˙. œ. œ œ j œ œ œ. ˙ f œ j œ œ œ. œ 64 ˙ f œ. ˙. F 67 œ œ F ≥œ œ œ œ œ œ F ˙. œ ? # ˙. 2 Cello ˙ ˙ & # œ œ. œ ?# œ œ ˙ 1 Vla. œ ≤ œ F ≤ œ F ≤ œ F œ≤ 60 Vlns. œ œ œ œ J ˙. œ. œ œ œ œ œ œ œ œ œ J ? # œ. Cello 57 œ œ œ œ œ œ ˙. B # œ. Vla. œ œ œ œ œ œ œ œ J 69 œ œ J œ œ. J ≤ œ œ œ. J ≤ œ ˙ œ≤ œ œ. J ≤ œ œ œ. J œ≤ SO358 8 1 # œ. & œJ œ 2 & œ [70] Vlns. # j œ. œ . B # Jœ œ Vla. Cello Str. Bass ? # Jœ œ . œ ?# ˙ œ Vlns. 2 Cello Str. Bass Vla. Cello Str. Bass SO358 œ œ œ œ œ œ ˙ ?# œ œ # ∑ # ∑ 82 1 & 2 & Vlns. œ œ ˙ œ œ ˙ f ˙ œ B # œ. ? # ˙˙ .. ? # ˙. œ j œ œ ˙ œ œ ˙ œ œ œ œ ˙ 78 79 ˙ œ œ ˙ Œ j œ œ œ ˙. œ ˙˙ œ œ œ f ∑ 84 ∑ œ. œ œ œ f œ œ ˙ ≥˙ ∑ 83 f ˙ œ ∑ œ. ˙˙ .. ˙. j œ œ ˙ œ œ œ œ ˙ F œ œ ˙ œ œ ˙. œ œ ˙. œ Œ œ œ j œ œ œ œ œ [81] nœ 86 ≤ ‰ œj œ œ F div. ≥ ˙ œ œ ˙ P ≥˙ . P œ poco rit. ∑ ∑ œ. œ œ F œ œ œ œ F œ œ ˙ œ ∑ 85 75 œ œ ˙ F œ œ ˙ F ˙ œ œ œ ˙ f ˙ œ œ œ ˙ œ œ ˙. P ˙ œ œ œ. J ˙ ˙ œ œ 80 œ f œ ?# j œ œ. j œ œ 74 œ œ f ˙. œ œ j œ œ. œ œ œ J œ œ # j œ œ. œ œ œ. P œ œ œ. P ˙. œ & 73 j œ œ œ œ œ. P f ˙ 77 j œ œ œ œ œ. P 72 ˙ f ˙ # & œ B# œ Vla. ˙ f œ 76 1 71 ∑ 87 ∑ j œ œ œ. œ œ ˙˙ ˙˙ .. ˙. ˙. ∑ ˙. , ≥ ˙˙ .. , ≥ ˙. SO358F - Down by the Glenside 0 84027 04403 2
