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Awake, You Sleepers! For Trumpet & Wind Ensemble Laurence Bitensky Awake, You Sleepers! Laurence Bitensky For Trumpet & Wind Ensemble Ca. 17’ for John Hagstrom with special thanks to Vince DiMartino Premiered on July 2, 2002 2002 International Trumpet Guild Conference, Manchester, England John Hagstrom, trumpet Royal Northern College of Music Wind Orchestra Tim Reynish, conductor This piece was made possible by a grant from the Fromm Music Foundation. Notes I Tekiah “ . . . as morning dawned, there was thunder and lightning and a dense cloud over the mountain; there was a loud shofar blast, and all the people in the camp trembled.” (Exodus 19:16) II Shevarim “The great shofar is sounded, and a still small voice is heard.” (excerpt of the Unetaneh tokef prayer, attributed to Rabbi Amnon of Mainz) III Teruah "Awake you sleepers! Awake from your sleep! You slumberers, awake from your slumber!” (Maimonides, Hilkhot Teshuvah III. 4) The ancient instrument known as the shofar, or ram's horn, has a special place in the Jewish tradition. Legend recounts that its sound was heard at the giving of the Ten Commandments at Mt. Sinai, the tumbling walls of Jericho, as a call for battle, and that its sound will be heard to herald a messianic era. The instrument has survived through post-Biblical and contemporary times and features prominently in the liturgy of Rosh Hashanah, the Jewish New Year. The blowing of the shofar in the Rosh Hashanah service is a call for repentance, symbolically awakening the sleeper from a moral and spiritual slumber. Each of the three movements of Awake, You Sleepers! is based on one of the three calls associated with the blowing of the shofar. Tekiah is a long note rising in pitch; shevarim is three shorter notes; and teruah is a long repeated staccato blast. Each movement is also preceded by well-known verses from the Rosh Hashanah liturgy. Much of the music for Awake, You Sleepers! is based on Rosh Hashanah motives and melodies that occur in the German/East-European musical tradition. © sillyblackdogmusic/2002 Instrumentation Piccolo Flute 1-2 (Flute 2 doubling Alto Flute) Oboe 1-2 English Horn Bb Clarinet 1 (doubling Eb Clarinet) Bb Clarinet 2-3 Bb Bass Clarinet Bassoons 1-2 Eb Alto Saxophone 1-2 Bb Tenor Saxophone Eb Baritone Saxophone Horns 1-2 Horns 3-4 Solo Trumpet in C Bb Trumpet 1 Bb Trumpet 2-3 Trombones 1-2 Bass Trombone Euphonium 1-2 Tuba Double Bass Percussion 1 Slapstick, Suspended Cymbal, Tambourine, Timpani, Triangle Percussion 2 Bass Drum, Maracas, Marimba, Large Rainstick, Tambourine, Triangle, Xylophone Percussion 3 Crotales, Snare Drum, Tambourine, 4 Tom-Toms, Triangle, Percussion 4 Glockenspiel, Snare Drum, Suspended Cymbal, Tam-Tam Piano (doubling Celesta) Score in C (All instruments sound as written except usual octave transpositions) Performance notes Awake, You Sleepers! is based on the free and supple improvisation of traditional Jewish chant, and some of its spirit of metrically-free improvisation should be maintained. The soloist and conductor should strive for a very fluid and flexible sense of tempo throughout, using much rubato. The sections marked ad libitum should be played freely and unmetered by the soloist, particularly in the third movement. The conductor should give a cue at the beginning of each ad libitum section and at rehearsal letters within each ad libitum section. The conductor should begin conducting at the sections marked a battuta. I Tekiah " . . . as morning dawned, there was thunder and lightning and a dense cloud over the mountain; there was a loud Shofar blast, and all the people in the camp trembled." q = 58 Laurence Bitensky        Piccolo         sffz a2       Flutes 1-2         sffz   Oboes 1-2          English Horn          Bb Clarinet 1          Bb Clarinets 2-3         Bb Bass Clarinet            Bassoons 1-2            Eb Alto Saxophones 1-2          Bb Tenor Saxophone          Eb Baritone Saxophone            1.   glis s.  1.  Horns 1-2             mf sffz   ff   3.  gliss.  3.    Horns 3-4             mf sffz   ff  q = 58   gliss.       Solo Trumpet in C           sffz ff p ff p    Bb Trumpet 1          Bb Trumpets 2-3        1. solo; freely 1. solo; freely quasi gliss. quasi gliss.                  Trombones 1-2   mf 3 p  ff 3 p    Bass Trombone           Euphoniums 1-2          Tuba      pp     pizz. arco Double bass              pp pp q = 58    Percussion 1           Percussion 2           Percussion 3         Tam-Tam l.v.  To Sus. Cym.  Percussion 4           pp          Piano            © sillyblackdogmusic/2002 2 A  7       Picc.          sffz a2        Fl. 1-2          sffz   Ob. 1-2           Eng. Hn.           Bb Cl. 1         3.    Bb Cl. 2-3            p   B. Cl.         Bsn. 1-2      1. solo 3   3   3    3   3         p espr. poco A. Sax. 1-2           solo 3 T. Sax.                mf p Bar. Sax.             Hn. 1-2  glis s.           sffz Hn. 3-4  glis s.            sffz A gliss.     Solo Tpt.            sffz  mf p molto    Bb Tpt. 1           Bb Tpt. 2-3            Tbn. 1-2           B. Tbn.           Euph. 1-2        solo     Tba.       p     cresc. poco a poco fp pizz.    Db.               cresc. poco a poco fp A 7    Perc. 1           Perc. 2           Perc. 3           Perc. 4                    Pno.            3 q = 116 12 accel. poco a poco     Picc.       a2               Fl. 1-2      f 3 3 3 3   1. 3 3   3    Ob. 1-2           cresc. poco a poco mp f 3 3   3  Eng. Hn.             mp cresc. poco a poco     f Eb Clar.                Bb Cl. 1      f 3   3   3   3     Bb Cl. 2-3                   cresc. poco a poco mp f 3 3 3 3    B. Cl.       3        Bsn. 1-2            cresc. poco a poco f 1. 3 3 A. Sax. 1-2                    cresc. poco a poco 3 mp 3 3 f 3 T. Sax.                3 3 3 3             mp 3 3 cresc. p3oco a poco 3          f     Bar. Sax.            Hn. 1-2          Hn. 3-4        accel. poco a poco q = 116     Solo Tpt.            Bb Tpt. 1          Bb Tpt. 2-3           Tbn. 1-2           B. Tbn.       a2   Euph. 1-2           mf f     Tba.          f    pizz.          Db.               f 12 accel. poco a poco Timp. q = 116  Perc. 1                p  f     Perc. 2           Perc. 3           Perc. 4                  Pno.            4 15   Picc.       3 3 3 3 3 3                         Fl. 1-2      3 3 3 ff                  Ob. 1-2       ff  Eng. Hn.             ff Eb Clar.                        Bb Cl. 1   3 3 3 3 3 3 3 3 3 ff                  Bb Cl. 2-3                 3 3 3 3 3 3 3 3 3 ff  B. Cl.            Bsn. 1-2          3 3 3 a2  A. Sax. 1-2                  f ff  T. Sax.         Bar. Sax.       a2 3 3 3 3      Hn. 1-2                  mfa2 3 ff 3 3 3     Hn. 3-4                  ff mf   Solo Tpt.                      Bb Tpt. 1      3 3 3 3 f              Bb Tpt. 2-3            3 3 3 3 f Tbn. 1-2       3 3 3     f B. Tbn.       3 3  3   f        Euph. 1-2    Tba.         pizz.     Db.         15 Timp.      Perc. 1        p f  Perc. 2          Perc. 3       Sus. Cym.  Perc. 4           p  ff        Pno.         q = 80 B 5 19      Picc.               Fl. 1-2              Ob. 1-2             Eng. Hn.         Eb Clar.       Take Bb Clar. Bb Cl. 1          a2       Bb Cl. 2-3            ff      B. Cl.          f   3 3 3 3 3 3 Bsn. 1-2         f                          A. Sax. 1-2            3 3 T. Sax.        3  3   3      3        f 3 3 Bar. Sax.         3  3   3      3         f       Hn. 1-2                 Hn. 3-4             q = 80 B 4 5      Solo Tpt.                         f 3 3 freely Take harmon mute; stem completely out       Bb Tpt. 1           ff Take harmon mute; stem completely out      Bb Tpt. 2-3           ff         Tbn. 1-2                 ff  f       B. Tbn.                   ff  f        Euph. 1-2              Tba.          f pizz. pizz.loco    Db.                  f q = 80 B 19      Perc. 1          Bass Dr. To Maracas    Perc. 2             f mp Trngl. To Tom-Toms     Perc. 3           ff To Tam-Tam  Tam-Tam l.v. To Sus. Cym.    Perc. 4             f To Celesta                     Pno.  ff                6 24   Picc.        1.     Fl. 1-2       f  5    Ob. 1-2      f 3 3 3 3 3     Eng. Hn.                     Bb Clar.     Bb Cl. 1       f 5   Bb Cl. 2-3       f   B. Cl.         3 3 3 3 3 3 3 3  Bsn. 1-2                                   1. 3 3 3 3 3 3 3  A. Sax. 1-2   3                         3 3 3 3 3 3   T. Sax.                 3 3         Bar. Sax.         Hn. 1-2         f     Hn. 3-4              f  4 Solo Tpt.                           3 3 5 3 3 freely   Bb Tpt. 1        Bb Tpt. 2-3         Tbn. 1-2        B. Tbn.        Euph. 1-2        Tba.          pizz.      Db.          24   Perc. 1       Perc. 2        Perc. 3        Perc. 4        Celesta               Pno. f                 C ad libitum 7 28     Picc.        1. solo    Fl. 1-2               ff 3   Ob. 1-2                    Eng. Hn.            Bb Cl. 1                  Bb Cl. 2-3                B. Cl.            Bsn. 1-2         A. Sax. 1-2              T. Sax.            Bar. Sax.              Hn. 1-2                              Hn. 3-4                    C ad libitum Solo Tpt.   3 3    3 5    3 3 3 3           Bb Tpt. 1           Bb Tpt. 2-3            Tbn. 1-2            B. Tbn.                    Euph. 1-2        ff         Tba.            ff       Db.         C ad libitum 28     Perc. 1           Perc. 2            Perc. 3            Perc. 4                         To Piano Pno.               

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Awake, You Sleepers! PDF

86 Pages·2002·2.1 MB·
by  Bitensky, Laurence Scott
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Author:Bitensky, Laurence Scott
Publication Year:2002
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