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The form of this work is ABAB, where the A sections are areas that build powerful structures, and the B sections are meditative responses. The first A section is a continuous stream of eighth-notes in three sub-sections: 1) a long gradual build-up (mm. 1-21) to a long sustained climax (mm. 22-37) 2) a medium-length build-up (mm. 38-45) to a medium-length climax (mm. 46-52) 3) another long gradual build-up (mm. 53-70) to another long sustained climax (mm. 71-87), followed by a dramatic general pause (mm. 88-89). The first B section also has three sub-sections: 1) a short expressive organ solo with fluctuating tempo and dynamics in an overall slow and quiet state (mm. 90-94) 2) calm instrumental solos over soft organ chords, wherein tempo and dynamics stay more or less even (mm. 95-114) 3) a peaceful five-part chorale for the quintet, where the tempo moves more yet is untroubled, and the dynamic is soft throughout (mm. 115-132). The return of the A section is one huge breath: a very long relatively gradual build-up (mm. 133-180) to a very long sustained period of religious ecstasy (mm. 181-217), and a general pause (mm. 218-221). The return of the B section is another huge breath: a long expressive organ solo with fluctuating tempo and dynamics, that builds gradually and is joined by the instruments, to a climax (m. 238), which dissolves, as the instruments drop out, to a quiet cadence. Just as a meditation requires a long period of clearing the mind and controlling the thoughts, so this composition contains large areas of unchanged or gradually changing states.

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Page 1: JAMES WILDING - Home

The form of this work is ABAB, where the A sections are areas that build powerful structures,and the B sections are meditative responses.

The first A section is a continuous stream of eighth-notes in three sub-sections:1) a long gradual build-up (mm. 1-21) to a long sustained climax (mm. 22-37)2) a medium-length build-up (mm. 38-45) to a medium-length climax (mm. 46-52)3) another long gradual build-up (mm. 53-70) to another long sustained climax (mm. 71-87),followed by a dramatic general pause (mm. 88-89).

The first B section also has three sub-sections:1) a short expressive organ solo with fluctuating tempo and dynamics in an overall slow andquiet state (mm. 90-94)2) calm instrumental solos over soft organ chords, wherein tempo and dynamics stay more orless even (mm. 95-114)3) a peaceful five-part chorale for the quintet, where the tempo moves more yet is untroubled,and the dynamic is soft throughout (mm. 115-132).

The return of the A section is one huge breath: a very long relatively gradual build-up (mm. 133-180)to a very long sustained period of religious ecstasy (mm. 181-217), and a general pause (mm. 218-221).

The return of the B section is another huge breath: a long expressive organ solo with fluctuating tempoand dynamics, that builds gradually and is joined by the instruments, to a climax (m. 238), which dissolves,as the instruments drop out, to a quiet cadence.

Just as a meditation requires a long period of clearing the mind and controlling the thoughts, so thiscomposition contains large areas of unchanged or gradually changing states.

Page 2: JAMES WILDING - Home

Trumpet in C

Trumpet in B

Horn in F

Trombone

Tuba

Organ

Adagio misterioso

Ped.: 16' diapason

Adagio misterioso

4

4

Score in C

©2016 James Wilding (BMI)The composer should be notified of all performances

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7

7

11

11

add 8'

3

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15

15

Choir: 2' 4' 8'

19

19

Swell: 2' 4' 8' 16' foundation

Pedal: Full foundation, Gr. to Ped.

Great: 2' 4' 8' foundation

Maestoso, un pocopiú mosso

Maestoso, un pocopiú mosso

sempre

sempre

sempre

sempre

sempre

4

Page 5: JAMES WILDING - Home

23

23

29

29

5

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35

35

reduce stops

Ped.: 16' diapason

Tempo I

Tempo I

40

40

add 8'

Choir: 2' 4' 8'

6

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44

44

Swell: 2' 4' 8' 16' foundation

Great: 2' 4' 8' foundation

Pedal: Full foundation, Gr. to Ped.

Tempo II

Tempo II

48

48

reduce stops

7

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53

53

Ped.: 16' diapason

Tempo I

Tempo I

add 8'

57

57

Choir: 2' 4' 8'

8

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61

61

65

65

Swell: 2' 4' 8' 16' foundation

9

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69

69

Great: Foundation and mixtures, Ch. to Gr.

Pedal: Foundation and Reeds, Gr. to Ped.

Tempo II

Tempo II

sempre

sempre

sempre

sempre

sempre

73

73

10

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79

79

84

84

11

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90

90

Swell: 8' Flute, trem.

Choir: 8' Flute, trem.

Tranquillo, rubato

Tranquillo, rubato hold back

much faster,butimmediately rit.

hold back

somewhat faster,butimmediately rit.

hold back

94

94

a little faster,then rit.

Tempo I

Tempo I

with religious calm

Pedal: 8' Flute

12

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101

101

108

108

rit.

rit.

13

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115

115

Piú mosso, ma sempre tranquillo

Piú mosso, ma sempre tranquillo

like a chorale

118

118

14

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123

123

127

127

rit.

rit.

15

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133

133

Ped.: 16' diapason

Tempo I

Tempo I

137

137

16

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141

141

add 8'

145

145

Choir: 2' 4' 8'

17

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149

149

153

153

Swell: 2' 4' 8' 16' foundation

18

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157

157

161

161

Remove 8'

19

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165

165

169

169

add 8'

20

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173

173

176

176

21

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179

179

Great: Foundation and mixtures, Ch. to Gr.

Pedal: Foundation and Reeds, Gr. to Ped.

Tempo II

Tempo II

sempre

sempre

sempre

sempre

sempre

183

183

22

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moving forward slightly

moving forward slightly

188

188

193

193

Piú mosso, esuberante

Piú mosso, esuberante

23

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198

198

203

203

24

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208

208

214

214

25

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222

222

Swell: 8' Flute, trem.

Choir: 8' Flute, trem.

hold back

much faster,butimmediately rit.

Tranquillo, rubato

Tranquillo, rubato

hold backmuch faster,butimmediately rit.

hold backmuch faster,butimmediately rit.

228

228

hold backmuch faster,butimmediately rit.

hold backmuch faster,butimmediately rit.

hold backmuch faster,butimmediately rit.

26

Page 27: JAMES WILDING - Home

234

234

hold back

hold back

much faster,then immediately rit.

much faster,then immediately rit.

hold back

hold back

much faster,then immediately rit.

much faster,then immediately rit.

240

240

hold back

hold back

Tempo I

Tempo I

27

July-August 2016Casavant Freres Pipe OrganChrist Episcopal Church, Warren, Ohio